Another year, yet another album from prolific garage rock guy Ty Segall. You would perhaps think that a self titled album (his second) would have a back to basics approach but as Master Segall revels in a stripped back sound it's hard to figure the concept other than this is described on the press release as 'visceral' and 'penetrating' and with 'lobe blasting' fretwork. Lead track 'Orange Colour Queen' is tender and evocative, I think we need to know the truth.
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The most used word on my work review .doc is “riff”. It is entirely Ty Segall’s fault. Releasing a record every five or so months in an impossible psychedelic tango with Thee Oh Sees, he’s proven himself the champion of a heavy rawk guitar hook over and over -- Ty Rex, a record of T Rex do-overs, might have been the tipping point, but this new eponymous record of original material has guitar lines both snappy and incredibly wanky. Rock, eh?
All the usual applies, though Ty’s not so much fine-tuning his garage rock here as unleashing it, letting solos warble through shoddy bridges and elongating vocal harmonies ‘til they die of natural causes. It feels, in a sense, more trad than ever, with a tune like “Warm Hands” having that cosy, old-school guitar feel between its squeaking chord progression, cool-guy drum fills and cheesily pastoral lyrics. He goes in sludgier and chunkier elsewhere, with tunes like “The Only One” building their Beatles-like melodies on top of gruelling dissonance.
What year does Ty Segall think this is, you ask? I dunno, but he’s literally strumming through “Orange Color Queen” like he belongs to a psychedelic folk scene of old. No probs; it’s Ty doing heavy Ty with a couple of acoustic guitars tucked away in the corner of the room, as on the acoustic-segued-electric sweetness of “Take Care (To Comb Your Hair)”. Solid advice for me: I’m off to tidy myself up so I never become as dishevelled and good at garage rock as Ty Segall. Business as usual for him, and doesn't it boom.
9/10 Steve 22nd February 2017
Yet another Ty Segall album, it's got a bit of everything he's great at... more chirpy Bolan strumming, more distorted noodling, more babies, more ladies, more repeating the last word of the chorus as they switch into mid-song instrumental wigout mode, and even a half-time honky tonk that's only missing some coconut shells for that clip-clop effect.
Plus it's recorded full-band, with Steve Albini, so you get that roomy drum sound he's canny good at, and according to my step-son it's a "sick car album".
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