Ty Segall “Ty Segall” Review
You know what bands like the Black Keys, White Stripes and Deadboy and the Elephantmen have in common? All three bands play a similar style of blues based garage rock as Ty Segall, but need twice as many band members to get their sound. One band member is the new two, folks, so get with the times.While I will be the first to admit that my first thought when I hear “one man band” is that guy from Mary Poppins with his crazy drums and whistles, I can assure you Ty Segall is the cool kind of one man band, and his new record goes to show the benefits of trimming the fat. If you are in a band that functions as a duo, I advise you to start watching over your shoulder, especially if you aren’t exactly pulling your own weight (I’m looking at you Meg White).
To be clear, while Segall does play “blues based garage rock,” it is much more in line with the fractured mess of Michael Yonkers and Captain Beefheart than the more polished versions played by the White Stripes. The record, heavy on bass drum rhythms and simple tambourine beats, starts out with the song “Go Home”, which has fuzzed out vocals and a carefully calculated lo-fi sound. The production of the song, which comes across like razor blades cutting through your speakers, sets the tone for the fractious and scratchy album. Next up is the awesome echo vocals of “Pretty Baby (You’re so Ugly) and the slinky “The Drag,” which sounds at times like a Black Keys demo. Like any art form where someone is so restricted, one weakness here is the similarity between some of the songs—though Segall does try to mix it up with a few ballads over the course of the 12 song, 23 minute record. Highlights on the back half of the album include the grinding psychedelia and floating vocals of “You’re Not Me” and an interesting cover of the Ramones “You Should Never Have Opened That Door.”
(photo by Denee Petracek via MySpace)
Setting aside the one man band jokes, Segall has really created an interesting and gratifying album. There is a clear and intentional effort to make a bit frayed and disjointed sound, and this helps set him apart from other bands who are playing similar types of music. His sound allows for a lot of room to grow and he obviously has a knack for writing some catchy songs (even if he buries the melodies beneath the fuzz). I hope to see his show sometime soon to check out how it all comes across in a live setting.
Wow Josh – I literally just requested this album from Segall’s mgmt yesterday! I fucking love it! Had no idea you were already all over it
Two ringing endorsements from people whose opinion I value, albeit only slightly
I’ll definitely have to check his record out, especially with all the comparisons/influences you mention above. Although, while listening I’ll probably only be able to picture that crazy one man band from Mary Poppins playing the music, so thanks for that image in advance Josh.
It magically appeared in my mailbox a few weeks ago. I had never heard of him, but liked the short blurb they sent with it and put it in and loved it right away. 9 times of 10 when I put in CD’s by bands I have never heard of it is a failure, but this is the kind of find that makes it worth sifting through all the garbage.
For the record, my opinion is worth about as much as much as the Zimbabwe dollar, but thanks for the compliment, even it was only in the slightly category.
pretty sure I got this in the mail a while ago too, i’ll have to dig it out, thanks for the heads up. sounds like it’s up my alley
This LP caught my attention for a bit last year. If I remember correctly, I thought “the Drag” had the best hook on the album. I love when the drums stop and every thing goes silent except his vox and the several chords he’s playing.