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IN THE RED RECORDS

melodious pop songs through a devolved, malodorous glam-punk aesthetic. It continues the stylistic jump from their self-titled debut to sophomore full-length Homo, further exploring the possibilities of the first wave of punk, incorporating orchestral arrangements and gutter-glitter psych stomp, like if Vom tried to write their own Forever Changes; like if the Electric Eels backed up Bolan or if The Fall put out a record on Crass Records. There are tuneful lamentations of heartbreak and loss alongside very debased, toilet-humor punk licks; Lovecraftian psych-cult morbidity at one moment and rousing anti-anthems against self denial the next. It has been an especially productive year for the band— they are about to launch their first feature-length film, Autonomy and Deliberation, and the soundtrack LP recorded for the film comes alongside Racism, a split 7-inch with Native Cats (on Ride the Snake), a split live LP with Eddy Current Suppression Ring (on Almost Ready, originally released on a limited run of cassettes back in 2008), and the Gypsy King single (from Racism, on HoZac). All this, plus the output of the numerous other Melbourne bands in which members of UV Race play—Asps, Dick Diver, East Link, Guy & Marcus Blackman Experimentation, Lower Plenty, School of Radiant Living, Soma Coma, Straightjacket Nation and Total Control—reveal a relentless commitment for the sake of the song.

In The Red is happy as a pig in shit to announce the debut release by the Ty Segall Band. The Ty Segall Band is Ty Segall (obviously), Mikal Cronin, Charlie Moonheart and Emily Rose Epstein.

While Segall has released many incredible solo releases, 'Slaughterhouse' marks the first that he recorded with his touring band. For this album (it’s only ten inches, but you get two!) the band recorded with Chris Woodhouse at the Hangar, turned their amps all the way up, set their fuzz pedals on obliterate and commenced to kick ass and take names. Seriously, this record will melt your face.

All of Segall’s usual psych-pop sensibilities are present but 'Slaughterhouse' adds the full throttle, go-for-the-throat bombast that the band delivers in the live setting. The fuzz riffs, bratty howl and Cro-Magnon bashing culminate with a feedback freakout that’s clearly the only sensible way to end a workout of this magnitude.


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