Ty Segall has all the modern rock essentials on a self-titled new track

Garage rock artists like Ty Segall are key to mainstream rock music. Everything about his music screams retrospective rock ‘n’ roll, while keeping the genre fresh through the use of heavy distortion. Artists like Segall, through their indie-tinged approach to rock, are responsible for summer festival-goers rapping their flower crowns to massive pop tunes masked beneath guitar riffs and solos that bring out the rocker of n ‘anyone.

Ty Segall is exactly what you’d expect from albums of this punk festival archetype – it’s a bright, 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 depicts the genre, the album itself contains tracks that produced a poignant definition between songs on the album. On his latest effort, Segall expanded on the dirtier lo-fi vibe of oldies rock on 2015 ty rex using incredibly well-written pop melodies, a common staple that brought the popularity of the garage rock niche to the festival crowd.

Segall is never afraid to show off his skills. The man is incredibly adept at his craft, sprinkling lightning-fast guitar melodies throughout the album that give him the rock cred 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 drunken, romantic aesthetic commonly found in modern rock, a movement spearheaded 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 wanna call you baby,” Segall paints images of sad, long-haired boys ruminating on love with a stiff drink in hand. They’re adorable and fun images that add relatability to a genre that can otherwise feel suppressed.

Back-to-back tracks “Papers” and “Take Care (To Comb Your Hair)” are pleasingly light and enigmatic to the point of clunky, adding to the romance through their detail. Segall shows he’s capable of more than the lo-fi rock ‘n’ roll we’ve come to expect from him. These floaty indie rock bits give the album more depth than it has achieved on more recent releases, which tended to stick to its brand of status quo punk. It makes a big impression before his goodbye – a pair of lonely chords to 12-second “Untitled.”

By getting in touch with his tender side, Segall has written a record that is not only ripe for throwing himself into a pit, but also includes moments to rock to the melody with a slight recklessness. “Talkin'” tones the album, drawing on music that almost sounds like Beatles-era rock, while “Thank You Mr. K” brings it back up to speed with a cheerful piano added to the mix. . It’s an effective piece with varying 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 nature of garage rock and made it three-dimensional through modern twists that set it apart from the fuzzy aesthetic typical of the genre. It’s far from a surprising or magnificent album, but Segall manages to take on his favorite genre with a broader vision. To put it bluntly, it’s damn good – witty and charming. Hiding beneath rough riffs, strident solos and dark cover, Ty Segall proves that its namesake isn’t as sad as it makes it out to be.

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