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TY SEGALL

Ty Segall

Pig Man Lives, Volume 1: Demos 2007-2017

    WHAT. It’s almost 2020!? Face it, the last ten years or so have been a BLUR – so much shit going down, good and bad - and a lot of music too. It doesn’t look like its gonna get any easier for ANYBODY to get their bearing, so Ty Segall and Sea Note have gotten together a special box to help you reorient your head, no matter where you are.

    Yeah, this one’s for the freak, the fan, the head. Pig Man Lives is a stack of raw germs that were blown up in the world as Ty Segall releases over this last golden decade or so – specifically, the demos that bred Manipulator, Freedom’s Goblin, Emotional Mugger, Twins, Ty Segall, Slaughterhouse and Sleeper Each finished record had its own unique aim and intention, but when you hear tracks from 2007 next to 2015. then 2012 cutting in after 2017, the splatter allows you to hear the continuum of a whole body of work exploding over and over again in the burst of freedom that comes with the initial sketch of a song.

    Non-linear reorientation, taking you back and forward over the course of eight sides and 47 songs. There’s even a few that haven’t seen the light of day before. You’re bound to feel different after you’ve spent any kind of quality time with The Pig Man.

    Whether he’s recording alone at home or in a studio with the band, Ty’s goal in putting something on tape isn’t just to log the song, it’s to make a whole thing that’s rad. For some of these songs, further evolution brought even more out of them. And some are perfect this way, with rough edges and little details you’re not gonna believe you’ve lived without.

    As sure Pig Man Lives, you won’t have to anymore.

    Ty Segall

    Melted - Reissue

      San Francisco psych wunderkind Ty Segall continues a tireless musical assault on ears and minds with his third album, Melted. Segall says it sounds like "cherry cola, Sno-Cones and taffy." Indeed! Over the past two years he's released records more often than most people do laundry, but somehow there is still a heap of anticipation for this new album on Goner packed full of truly psychedelic pop songs with great vocals and exciting arrangements. On the heels of two critically acclaimed solo albums, Segall holed up in a basement studio with Mike Donovan of the Sic Alps in late 2009 and early 2010 to come up with Melted. It's a carefree yet precise balance of acoustic and electric elements.

      Distorted echo and thunder mix together with enough clean guitar lines and addictive choruses to deliver an album that recalls the '60s without sounding like anything created during that decade. Time melts away, vision melts away, minds melt away. Get Melted! "Ty Segall's short, sharp songs peal out of the garage without raising the doors, sending 1960s rock riffs crashing through splintered, smart-ass lo-fi buzz." -Pitchfork "His second album, Lemons, solidifies his standing as one to watch.... There are few moments when Ty Segall isn't irresistibly catchy." -Nylon "Warped sonics do nothing to diminish the impact of his vigorously nostalgic riff and stomp. Segall thunders along with the timeless, impudently rowdy energy of a cement basement dance-off." -SPIN, ? Third solo album from San Francisco garage psych wunderkind ? Touchpoints: Safe as Milk / Clear Spot-era Beefheart, T. Rex, blurry sweet junk-food highs.

      It’s a year and a half since the release of Freedom’s Goblin. A winter of rain has buried the recent times of drought. Now voices from the garden cry of desire and disaster, but outside the gates, rebirth is happening.

      “Our salivating makes it all taste worse,” croons Ty Segall in the first salvo of First Taste. He’s talking about us: how we’re the masters of our own destiny, tellers of our own prophecy, makers of our own sickened choices. It’s a warning, but this time, the finger is pointing back at him too. He’s one with us.

      Contradictions are rife. First Taste is an introspective set after the extroversions of Freedom’s Goblin — yet just as steeped in party beats somehow, even as Ty trails through his back pages, reflecting on family, re-encountering pasts, anticipating futures. Feeling, like it was the first time, the duplexity of core truths. Lines of struggle wind through the songs. “My life is a mystery / I’d look inside but I can’t see,” as one goes — and yet, such promisingly oblique reflections act to unravel the onion, lifting the veil. Ty skates through oneness, self-esteem, the parents — all the joys of a rain-filled childhood — while reaching outward in the here and now, feeling for a shared pulse. To go on, we need to feel it.

      These are serious indoor moods, but with Ty, there’s a moment that always comes, a joke or something to crack the bubble and let some air in. It all comes together with volcanic energy — who knows what it means? One disaster ends another; mudslides down the hills into gaping canyons, freeways blocked, the sky filled with smoke. Then we go on.

      Meanwhile, the sounds — what are they? This production is INSANE, far-out, stranger than known, tones and rhythms that expand before our ears. These colors are weird. Together, they float like a flag, flashing binary lines like sirens to our eyes. There’s tons of drums, and acoustic . . . . things of all kinds. Horns, synth pads. Pianny. Boiling overtime, Ty’s creative juices suggested that First Taste be written and executed with some radical new instrumentation — koto, recorder, bouzouki, harmonizer, mandolin, saxophones and brass, voices, and sure, a sprinkling of keys. And the drumkit(S!), a position Ty occupies whenever it’s heard on the left speaker, while Freedom Band drummer (and SO much more) Charles Moothart plays the kit on the right side. Those two get DOWN together. Whatever the mood is, the pedal is pushed cleanly to the metal — and that means to the max of the lightest ballads ever, OR through the most raging rocks yet. Ty’s vocal prowess, always a highlight, sits in fresh relief against his mutant orchestra, spooling tension through some of his most patient songs, his feral scream in complete control. Taking us through it.

      First Taste is arch, full of high-energy jams, with a thing in each mix always insistently different. Ty’s song design’s all over the place — not even a surprise anymore — but unlike the freewheeling feast style of Freedom’s Goblin, these twelve numbers form a tightly revolving cycle of song and sound that focuses thoughts. First Taste isn’t really the first for Ty, or you or me. But for the latest, it’s a remarkably fresh taste. Maybe it’s the first for today — and when tomorrow is today, then too.

      STAFF COMMENTS

      Barry says: It's their first since last year's 'Freedom Goblin', and Ty Segall have once again pulled a stormer out of the bag (would it ever have gone any differently?). Incendiary, rawkous, ingenious and not unexpected in the slightest. One of the most confounding and reliable bands out there at the moment. Brilliant.

      Ty Segall & The Freedom Band

      Deforming Lobes - Live

      In 2018, Ty Segall’s Freedom’s Goblin hit with a watershed feeling. A feeling like, how much longer will rock albums like this even exist? An epic epoch double-LP that took the heroic arc of Ty’s populist masterpiece Manipulator and wadded it up into a much more aerodynamic (and harder-hitting) ball (or 20-sided D&D die), FG was also the continued work of the Freedom Band, Ty’s crew of choice since 2016. Storming the world playing songs from throughout his catalog in a series of ecstatic setlists, they sought freedom for themselves and the audience, even it if was just one night of emancipation from world’s numbing chill. Then they went and did it again the next night!

      An all analog production, recorded live on stage at Teragram Ballroom in Los Angeles by Steve Albini (via mobile unit onto two-inch tape!) and mixed with Steve in Chicago at Electrical Audio, Deforming Lobes witnesses the blunt-force traumpact of The Freedom Band in full effect, updating (and upending) numbers from Melted, Emotional Mugger, Twins, Manipulator, $ingle$ 2 and Self-Titled. From the start, the “Warm Hands” suite shows the growth of the group since recording the original version for the 2017 Self-Titled album—the jam has a new life all its own, and the band explores every song with similar unrestrained curiosity, never forgetting the collective experience they’re sharing. The feeling between audience and band at Los Angeles’ Teragram Ballroom on those January nights was its own special thing; here, the band is somehow even more front and center, making Deforming Lobes the first wholly original statement from The Freedom Band and bookending the Goblin experience with a fuck of an exclamation point.

      A year-plus later, another rock album exists—but what’s to be done with the guitar? These guys did everything they could get away with to a certain degree of (well-focused) depravity. Maybe now it’s time for a transition, away from live band rawk into whatever, who knows? But before you grieve your speculative future loss too hard, you really oughta get Deforming Lobes.

      STAFF COMMENTS

      Barry says: By all accounts, Ty Segall are one of the most dominant forces in live music around today, and this perfectly captures the energy and visceral heft of this momentous experience. Grooves are stretched out and worked around, turning a simple riff into a multi-layered tapestry, rich with distortion and so huge you can almost feel the sweat dripping off the stage.

      Ty Segall

      Fanny - Picture Disc Version

        Limited edition 7" from Ty Segall, featuring 3 versions of Fanny: The demo, a revved-up 'sketch' and a live acoustic recording from San Diego.

        All complete with artwork from Ty himself, and with proceeds going to animal rescue organisations NKLA and Mighty Mutts, which are dedicated to rescuing and rehabilitation the stray dogs of LA and New York.

        FORMAT INFORMATION

        Ltd 7" Info: We've got VERY limited quantities of these so don't snooze if you want one!

        Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it. Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output.

        Covers album includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks.

        STAFF COMMENTS

        Barry says: As you'd expect from Ty Segall, this is a fuzzed-out, head-bobbing collection of throbbing jams and screaming vocals, what you possibly wouldn't expect is it to be songs originally written by a number of the worlds greatest rock and / or roll bands, all given that familiar and comforting Segall twist. Brilliant re-imaginings of some stone-cold classics.

        FORMAT INFORMATION

        LP Info: Black vinyl edition.

        LP includes MP3 Download Code.

        Ty Segall

        Mr. Face

          Repress!!!!

          Famous Class is proud to announce the brand new TY SEGALL: Mr. Face EP!!! Not only is this gatefold double 7” EP packed with 4 killer jams, it doubles as a playable pair of 3D glasses! Pressed on translucent red + blue coloured vinyl you just look through the records to activate the supercharged 3D artwork. Get weird with us.

          Blonde and brunette. Dog and cat. Lemon and onion. Friend and foam. The change has been made! You can scratch your seven-year itch freely now: Ty Segall and White Fence are become one again, regrooving what we once called Hair into what is now Joy.

          Hair grew out of a simpler time, man! If, as the dyphrenic duo indeed affi rm on Joy, rock in 2018 is dead, don’t come around here looking for no burial. Instead, fi nd Joy caught up in the commencement of on-beyond rock; music made with the old tools, but emitted from a fresh new, single-celled organism. This time, the old “one and one make one” line does not apply. Hair had the quality of emulsion — drops of Segall suspended in Fence; a compound of White dispersed over sheets of Ty. With Joy, Tim and Ty arrive without travelling from the same place, occupy one single headspace, fi nishing the other’s phrases, pulling licks from each other’s places. Singing and thinking and laughing as one. Calling themselves from inside the house. C-c-c-creepy!

          Both these fellows have been known to trifl e with tropic pasts and reactivate vintage visions within their new music. Not now. Now is the only time this time — Joy is their own sound of today, a shared individuality, prisming all possible stances into an unseamly metastasis that FLOWS for 15 ebbcentric tracks. Plus, since it ends at the beginning, it never has to stop. LOOP that shit!

          STAFF COMMENTS

          Barry says: Ty Segall and White Fence bring it back for more of their collaborative journey through foggy psychedelia, simmering rock and roll and lysergic arm-swaying riffage. Yet another superb meeting of minds from these two top talents. Superb.

          Freedom’s Goblin is the new Ty Segall album: 19 tracks strong, filling four sides of vinyl nonstop, with an unrestricted sense of coming together to make an album. It wants you to get your head straight — but first, the process will make your head spin! Back in the Twins days, we talked about the schizophrenia of Ty’s outlook; today, it’s super-dual, with loads of realities all folding back on each other. On any given side, we’re tracking five or six full-blown personalities, unconcerned with convention or continuity.

          So drop the needle — who can say what it’ll sound like where it lands? This is Freedom’s Goblin — one track engendering, the next one oppressing, violence up in the mix — a look at everything around that Ty used to make the songs. What will you use it for when you listen? The songs came in the flow of the year: days of vomit and days of ecstasy and escape too, and days between. The rulebook may have been tossed, but Freedom’s Goblin is thick with deep songwriting resources, be it stomper, weeper, ballad, screamer, banger or funker-upper, all diverted into new Tydentities — each one marking a different impasse, like a flag whirling into a knot, exploding and burning on contact, in the name of love and loathing. Freedom’s Goblin wears a twisted production coat: tracks were cut all around, from L.A. to Chicago to Memphis, whether chilling at home or touring with the Freedom Band. Five studios were required to get all the sounds down, engineered by Steve Albini, F. Bermudez, Lawrence “Boo” Mitchell and of course, Ty himself.

          The goal was getting free, embracing any approach necessary to communicate new heights and depths, new places for the fuzz to land among octaving harmonies, dancefloor grooves, synths, saxes and horns, jams, post-Nicky-Hopkins r’n’b electric piano vibes, children-of-the-corn psycho-rebellions, old country waltzes and down-by-the-river shuffles. Basically, the free-est pop songs Ty’s ever put on tape. And one about his dog, too! We’re ALL Goblins and we ALL want our Freedom. The freedom to love or to be alone; to be pretty or pretty ugly; the freedom to turn the other cheek or to turn up the volume. And of course, the freedom to make just about any kind of song you think will free people when they hear it. But there’s that goblin of freedom too — and once you let it out of the bottle, it can fuck with you, so . . . take it or leave it. Go away or go all the way in. Live free and die! BUT be careful what you wish for . . . .

          • Reissue of first studio release from Segall with his touring band, now with bonus track
          • Upped the ante on past solo releases with a full-throttle, go-for-the-throat bombast
          • Once on double 10-inch, now expanded to double 12-inch

          A reissue of the 2012 debut release by the Ty Segall Band on In The Red, featuring a bonus song not on the original release! 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 time he recorded with his touring band. For this mini-album (originally released as a double 10-inch, but now expanded to a double 12-inch) 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 fullthrottle, 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 in shit to announce the debut release by the Ty Segall Band.

          Ty Segall

          Fried Shallots

            ‘Fried Shallots’ is a handful of numbers from different times and places over the past few years that all work together in a weird way. For Ty Segall, that requires rock with the gears shifting and stripping, tempos and tropes mashing up; a primal outburst, a quick-and-fuzzy soundtrack of rock, folk, R&B and pure power pop, to give us a chance to chill and do the new Century twist for just a minute. Ty Segall’s ‘Fried Shallots’ is here to help us surf the tides and not be swept under.

            Life is a Rorschach, life is a Rashomon. Fuck your facts. Throw ‘em out with yesterday’s webpages. Lives lie beyond the equations of currency, border lines and government —  and truth is just a drop in the beholder’s eye.

            Ty Segall has made whole records that wrestle with realities — fighting against some, pulling mightily to bring others into being. Of late, he’s thrown up his hands and donned clown shoes, dancing merrily in the dual role of oppressed/oppressor! His hands aren’t any more or less dirty than anyone else’s — but amidst the thunder and the chaos of the ongoing storm, he’s looking for the eye within.

            The new self-titled record — the next record after Emotional Mugger, Manipulator, Sleeper, Twins, Goodbye Bread, Melted, Lemons, and the first self-titled album that started it up in the now-distant year of 2008 — is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end. It’s got some of the most lobe-blasting neckwork since the Ty Segall Band’s Slaughterhouse (from way back in the long, hot summer of 2012), but it also features a steep flight of fluent acoustic settings, as Ty’s new songs range around in their search for freedom without exorcism, flying the dark colors high up the pole in an act of simple self-reclamation. All he wants is some truth!

            The construction and destruction of his chosen realities has, until now, been a luxury Ty has rightfully reserved for himself, striping overdubs together to form the sound — but for this new album, he entered a studio backed by a full band — Emmett Kelly, Mikal Cronin, Charles Moothart and Ben Boye — to get a read on this so-called clarity. This leads to a new departure in group sound, as well as some of the most visceral and penetrating vocal passages yet heard from Ty Segall.

            “Freedom/Warm Hands” puts the “sweet” back into suite; “Orange Color Queen” is a supreme moment of tenderness; “Talkin’,” a roots-infused truth-attack. “Papers,” looks behind the doors of Ty’s process; “Break A Guitar” is a brutal fun-fest pitched to the back of the house. Ty Segall keeps you guessing, bracing your skin with a welcome astringency, seeking to stem the bleeding with chunks and splashes of guitar, tight beats, audio-verité toilet smashes, a Wurlitzer electric piano in a jam, blazing harmonies, and LOTS of songs to sing. There’s no concept beyond that; finding the right places to be is a momentary thing. Ty Segall is the sum of his songs — and about getting the free. The free to be!

            STAFF COMMENTS

            Barry says: Ty’s latest LP is more punky than sludgy, with more in common with early Pixies than his recent output. Driven, rocking and absolutely essential.

            From the press release for ‘Emotional Mugger’:
            “Get in the booth -
            punch in the number
            when they pick up
            don’t say a word
            just listen
            shout at the double
            from the damned
            from a dry throat
            dry eye chuckle
            insistent / elastic (but never plastic)
            thick / butt jump pierced by the kids
            sweet angel voice sinister (what are they thinking)
            guitars sliced with scribble
            graffiti sprawled across the hemispheres; stuttered, stunted, dual-mono machine dreams flashing sudden stereophobic and back again / two screens alone together squeezing shaking oozing metallic pool like brain blood, slowly draining away all mental life. shaking ass / nihility at most corrodes candy’s gone no more fun.”

            By now you should know what you’re in for here: an eardrum-toasting take to tape of the mighty Ty Segall Band, captured during two nights in San Francisco at the barely-pushing-medium-sized venue The Rickshaw Stop. Rowdy crowd, meet stacks of amplifiers—Ty, Charlie, Mikal and Emily came to singe your ears off. There have been live recordings of Ty before, of course, but never so crisply and fully realized as this scorching platter of fuzz.

            As always, the cover artwork showcases beautiful black and white photos shot to film at the venue by Castle Face’s favorite lensman Brian Pritchard. As always, the tape takes are tweaked and saturated to perfection by their incredible crack team of engineers and knobgoblins. Live in San Francisco features jams from throughout Mr. Segall’s torrential output of the past few years, including a take of the first single “Feel” off his great new record Manipulator. It’s the next best thing to getting in to the show, which is getting harder and harder with Ty these days…

            FORMAT INFORMATION

            LP includes MP3 Download Code.

            You thought Ty Segall’s ‘Manipulator’ was the money album of the year? Think again. ‘Singles 2’ is here.

            ‘Singles 2’ sweeps out the ashes of the breakneck days (and nights) of 2011 - 2013 and burns down the house all over again in the process - but not by accident. ‘Singles 2’ slinks low and flat-out sprints behind the scenes of the ‘Goodbye Bread’ / ‘Twins’ / ‘Sleeper’ trilogy, collecting all the now-out-of print sides that totally work amazingly well together when placed back-to-back-to-back as an album.

            The super-deadly ‘Spiders’ single is spun again here in full, along with the epically pop B-sides for ‘I Can’t Feel It’, ‘The Hill’ and ‘Would You Be My Love’. Plus there are tracks for other righteous labels too like Permanent, Castleface and Famous Class.

            Covering The Groundhogs, the Velvets and GG Allin, Ty reps for a good array of punk godheads too. Between the covers and the originals, ‘Singles 2’ is also a run through the SF 388 scene circa 2010 - 2013, with various local heroes like King Riff, Mike Donovan and Ty himself at the board.

            ‘Singles 2’ is really about the rush of getting a single for the A-side and then finding a total sunshine jewel like ‘Children Of Paul’ or ‘Mother Lemonade’ on the flip. Or a stone-solid jam on a classic like the complete retooling of ‘Femme Fatale’ or the Mackay-style sax bleatings of ‘Fucked Up Motherfucker’.

            Closing the album with the seemingly unlikely (‘Music For A Film’) and the seemingly inevitable (‘Pettin The Dog’, a mighty hardcore slamming of the lid) cleanses the palate for... what? Another spin, probably! Singles 2 has been designed to withstand obsessive flipping.

            THE SEGALL HAS LANDED. And it’s fully loaded, with everything that Ty Segall (and you and me) are gonna need in the world to come. Heads up! It’s coming down fast. Sticking his hand deeper into the machines all around him, TY is reaching ever further to the outer limits of inner space orbited throughout 'Twins' and 'Sleeper'. And now more than ever, the chunks of the world that came before are like asteroids formed in his image... picking up speed... Still fighting the power with all the energy that a determined mind-patriot can conjure, Ty’s a fighter who loves, a surfer, a spaceman, and yeah, a casualty - like you, he’ll never be free. But unlike you, he knows it - and when he goes down and his head cracks in two, out pour the multi-colored manias that make up 'Manipulator'. Sour-sweet declarations featuring freaks and creeps alike: 'The Singer', 'The Faker', 'Mister Main', 'Susie Thumb' the 'Connection Man' and 'The Crawler', to name but a mutant fistful.

            To see these peeps, to realize their dreams and visions, TY kept working, kept writing, laying down more tracks than ever. New musical expressions pop and surprise relentlessly throughout all the knockout tunes of 'Manipulator' with many sounds in the mix - but most of all, SO many guitars! So many. And different kinds of strings - the strangled-neck solo of “The Singer,” recalling the good old days down by the river with Neil. Numbed-and-unplugged discursions spiraling away from the funk on “Mister Main.” Three-quarter quartets raising their din in a few key places. Waves of sparkling acoustics with ominous, Love-ly undertones - and then, torrents of filthy git-grunge, exploding into the chorus, washing everything away, fusing the blackness of Sabbath with the grime and grab-ass of the Stooges and the sweet swinging tones of the Stones. All in the name of getting higher on the music. Why have one guitar solo when you can have a few in the same space? There’s so little time, and a LOT to say. In order to ensure that he got it all out, TY called a few friends to fill in special parts on certain 'Manipulator' songs. He got great touches from Chris Woodhouse (piano, synth & percussion), Sean Paul Presley (vocals), Brit Lauren Manor (vocals), Steve Nutting (drums), Irene Salzer (violin), Jessica Ivry (cello), Matthias McEntire (viola) and the Ty Segall band (Mikal Cronin, Charles Mootheart, Emily Rose Epstein). Plus, Mikal arranged the strings - and everyone played awesomely. The clarion call / siren song of his guitar . . . . clouds of guitar billowing, blood rushing to the head, the temperature going from blue to red... TY’s on a mission, working to change chemistry through music with the steam-lined pop and helium-cooled vocals of 'Manipulator'. These seventeen songs take many forms, as if TY is finally releasing all the thoughts that have been holding him down, that made him pick up the ax to begin with. By the end of 'Manipulator', you’ll feel that he must have chased all the demons — but it’s a big world, and 'Manipulator' has only begun to fight.

            STAFF COMMENTS

            Darryl says: Since 2008 Ty Segall has now released eight solo albums, numerous collaborations with the likes of Mikal Cronin and White Fence and been a member of bands like Sic Alps and last year’s fabulous Fuzz project. So it might come as a surprise then that for a man known for such prolificacy that Segall has spent close to 14 months honing his latest epic into an all-thriller no-filler long player. Containing a snapshot of everything that we’ve come to love from the man, from his 60s garage rock obsession to his 70s glam and punk influences, ‘Manipulator’ is prime Segall, but brought into a sharper focus than ever before. Right from the off it’s clear that Segall intends to push the psych-pop button, almost all the tracks on ‘Manipulator’ are potential singles from glam stompers to acoustic strummers to face melting fuzz-noise-pop, it’s an album of total craftsmanship.

            Five short years into the Ty Segall expedition and we’re farther and farther out with each and every record. Between two minds, between two places, beyond previous album ‘Twins’, ‘Sleeper’ envisions a world of haves and have-nots, but the currency that separates them is psychic.

            With ‘Sleeper’, Ty Segall explores your mind, coming through his own head to slip inside with thought sharing. Ty engineered this one from beginning to end, and his ultimate sonics were accessed with a freaky hand and an instinct for what makes something perfect. ‘Sleeper’ flows more colours through your mind’s eye than ever before, pushing the walls of the universe out just a micron further, making everything heavier and lighter all at once, to allow for one moment that will live forever.

            STAFF COMMENTS

            Andy says: Cracked, slightly fried, acoustic psych...a glorious departure for this most prolific artist. His best yet?

            Ty Segall & Mikal Cronin

            Reverse Shark Attack

            Originally released in 2009 as a vinyl-only title on the Kill Shaman label, Reverse Shark Attack is a collaboration by Ty Segall and Mikal Cronin, two longtime chums who grew up together in Laguna Beach. Both turned out to be hyper-prolific singer / songwriter / musicians who recorded as solo artists as well as performing in bands such as the Sic Alps, Moonhearts, Epsilons, Traditional Fools and Okie Dokie.

            Equal parts danceable garage rock and effects-ridden psychedelia, Reverse Shark Attack is a mind-blowing explosion of loud guitars, pounding rhythms and signature vocal harmonies, and these eight shambolic, psychedelic jams are sure to please the most scrutinizing rocker. The centerpiece of the album is the title track, a side-long epic that goes from Beatlesesque melody to psych / folk weirdness before exploding into a Ventures-induced headache of smashed drums and wildly vibrant surf guitars. It’s a must-have release for fans of these two artists, and nothing like either of them have done on their own.

            • Reissue of out-of-print 2009 collaboration, now highly sought-after
            • First time on CD; vinyl includes digital download coupon

            STAFF COMMENTS

            Darryl says: Originally released in 2009 this is a total in the red rave-up with full on noise guitars and melodic vocals hidden under the molten sludge. Epic stuff!!

            ‘Twins’ is Ty Segall’s fourth full release this year. A singles comp, a fabulous collaboration with White Fence, an album with The Ty Segall Band, and now this.

            ‘Twins’ contains the hit single ‘The Hill’.

            ‘Twins’ follows ‘Goodbye Bread’, ‘Melted’, ‘Lemons’ and ‘Ty Segall’ as the prime statements in Ty Segall’s ongoing discography, dating back to 2008.

            Today, Ty Segall is a new man, a different kind of man from his more knuckle dragging earlier incarnations. Now he’s jetting toward Jupiter, brooding, looking around with X-ray eyes, yearning with a superhuman heart for a love to come and stay.

            The songs of ‘Twins’ are haunted by ghosts, shadowed by the other that we’ll never see, struggling to rise above. A fury of rock ensues; songs rigged to explode on a dime, fired from a cannon into the stratosphere. They fuse together into one multifarious projectile, a bullet from a gun marked yin and yang.

            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.

            23 year old Ty Segall has his finger on it. A finger on it, digging into your vinyl, since 2008. 'Goodbye Bread' is his 5th full length, his first for Drag City. For those who are unaware, Ty tours like a monster, plays his ass and his band's ass and his audience's ass off every night and people seem to like it. The shows are moving, almost beyond control. It's not gonna stop either! 'Goodbye Bread' will see to that.


            STAFF COMMENTS

            Darryl says: ‘Goodbye Bread’ is his most accomplished work to date, sounding like a long lost dusty classic from the 70's. A lo-fi production, psyche-garage guitars and glam elements combine wonderfully with his retro styled vox. A big hit on the Drag City label!

            Burying 60s sing-alongs and dance crazes beneath waves of reverb and giddy thud, Ty Segall has carved out his own shelf in the San Francisco neo-psych garage alongside local compatriots and collaborators Sic Alps and Thee Oh Sees. After shattering the Bay Area underground as a frantic one-man band that was devoured by the local press, Segall has now given up the solo act for a three-piece group that destroys sonic and melodic boundaries with manic glee. This new live set-up is a better reflection of his studio work. As an exploration of the space between Cro-Magnon fuzz and atmospheric acoustic psych, "Lemons" is the natural next step after his celebrated self-titled 2008 debut on Castle Face.

            FORMAT INFORMATION

            Ltd LP Info: 180 gram vinyl pressing, also includes a download code.


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