Garage punk went down a wormhole when Ty Segall turned up -- it's never coming back. On about his ten thousandth release by now, Live In San Fransisco spans two shows in the eponymous San Fran. Segall and his band fight an enamoured crowd with as much feedback as you can double pack in a shopping bag.
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If there's one band that play garage rock bloody well it's the Ty Segall band. Live they always strike me as a heavier, punkier proposition than on their studio releases, known to indulge in Hawkwind and Motorhead covers and come over as faintly dangerous but loveable which in this age of fake posturing and cynical retro-obsessed nobbery is commendable.
This lo-fi, grumbling dirtbag of a live album is released on John Dwyer's ever sturdy Castle Face. Track two is the wonderful but too-brief 'Slaughterhouse' with its manically ascending guitar riff and lightly bludgeoning sonic mayhem. It sounds a little like Nick Oliveri's stuff if only he had the songwriting talent. Next, straight into the evil sounding 'Death'; a grinding neo-metal/garage thumper with an asylum-bound lyrical display and a tendency to tip waywardly into sludgepunk then blistering psychedelic rifferama. Just getting to say the word rifferama in a review is enough to get me wet.
I reckon this is by far THE best of the CF live series so far. To be honest most of them have been a bit shitty sounding due to either the mix or the surprisingly poor songs/bands or maybe both but this little cretin really carries across the live Ty Segall experience for what it is. Ten songs spitting this thrilling wired energy and viscous joyous celebratory noise. The audience sound ecstatic in between.
Including classic singles such as 'Feel', 'The Hill' and 'Standing At The Station' from Lemons, not to mention a charming joke from audience member Judy, 'Live in SF' is a riotous blast, rammed with genuinely great tunes and with a tangible, raw and pure mix. The occasional TS slacker-pop tendencies buried under a ton of wrangled feral guitar mania, frantic propulsive drumming and fuzzed-out bass grind. Celebratory and quietly fearsome, it finishes with the sublime and soulful white-out of 'What's Inside Your Heart' and results in one of the most exciting live albums I've heard in a while. Really wish I'd have been down the front for this one.
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