Ty Segall has all the essentials for modern rock on new eponymous track

Garage rock artists like Ty Segall are essential to integrating rock music. Everything about his music screams retrospective rock ‘n’ roll, while still keeping the genre fresh through the use of heavy-handed distortion. Artists like Segall, through their indie-tinged approach to rock, are the makers of summer festival-goers who are banging their heads on massive pop tunes masked under guitar riffs and solos that bring out the rocker in everyone. .

Ty segall is exactly what you would expect from the albums of this punk festival archetype – it’s a brilliant, drunken haze of an album. The blurry black-and-white image on the cover speaks for itself: a dark image of a man who has no tangible features other than the curtain of hair covering his face. Even though the cover art represents the genre, the album itself contains tracks that produced poignant definition between the songs on the album. On his latest effort, Segall expanded the dirtier lo-fi atmosphere of oldies rock on 2015 Ty Rex using incredibly well-written pop melodies, a common staple that has brought the popularity of the garage rock niche to the festival crowd.

Segall is never afraid to show off his talents. The man is incredibly skilled at his craft, sprinkling lightning-fast guitar melodies throughout the album that give him the rock credibility he needs to survive the 21st century. Segall’s penchant for writing vocal and guitar melodies keeps the album fresh, each song distinct from the next, despite the distortion that permeates his work.

The romantic, drunken aesthetic commonly found in modernizing rock, a movement led by artists like Twin Peaks and Mac Demarco, is palpable on the album. With lyrics like “Pick up my guitar / I’ll be at the bar” and “I don’t want to call you baby,” Segall paints images of sad, long-haired boys brooding over love with a drink in their hand. These are adorable, fun images that add relativity to a genre that might otherwise feel suppressed.

The back-to-back tracks “Papers” and “Take Care (To Comb Your Hair)” are pleasantly light and cryptic to the point of awkwardness, adding to the romance through their details. Segall shows he is capable of more than the lo-fi rock ‘n’ roll that we expect from him. These floating indie rock tracks give the album more depth than it has achieved on more recent releases, which tended to stick to its status quo punk brand. It makes a big impact before his farewells – a pair of solitary chords on “Untitled” closer to 12 seconds.

Getting in touch with its tender side, Segall has written a record that is not only ripe to jump into a pit, but also includes moments to sway to the beat of the melody with a casual lightness. “Talkin ‘” sweetens the album, taking inspiration from music that almost sounds like rock from the Beatles era, while “Thank You Mr. K” brings it back to speed with a rousing piano added to the mix . It is an efficient piece with variable tempo and volume, and the result is an unexpected but far-reaching album.

On his self-titled second album, Segall took the often two-dimensional character of garage rock and made it three-dimensional through modern twists that set it apart from the genre’s typical hazy aesthetic. It’s far from a surprising or magnificent album, but Segall manages to approach his genre of predilection with a broader vision. To put it bluntly, it’s pretty darn good – witty and charming. Hidden under rough riffs, shrill solos and dark blanket, Ty segall proves that its namesake is not as sad as it would like you to believe.


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