“Rarely when formulating combinations of musicians you would like to hear play together do you get to actually hear it. If Brian Chippendale and Ty Segall made a record, would you want to hear it? If the answer is yes, read on. If the answer is no, it’s too bad you ended up canned, suspended in syrup with nothing but other peaches to keep you company. “Ty’s 2019 album First Taste and the new Lighting Bolt album Sonic Citadel are easily some of the best material either entity has ever released so if these two happened to find themselves in the same recording studio, a fan just might entertain elevated expectation levels. In fact, some might actually show signs of enthusiasm, even excitement at the fact that from July 5th -13th 2018, in the air-conditioning free environs of Ty’s home studio, the duo, eventually calling themselves Wasted Shirt, wrecked the joint as thoroughly as you hoped they would. “Prepare To Be Stoked Dept.: The album is exploding euphoria from start to finish. A morphing day-glo rainbow that will bring a smile to your face like if you were on your way to Washington DC for the Million Puppy March. Upon first spin, all boxes are checked and any previously held doubts are completely obliterated. The more you play it, the better it kabongs you upside your head. Hectic doesn’t even begin to describe it. Brian and Ty, two mere particles in the grand scheme, collide at high speed, the technicians dive for cover, the reaction is recorded. Mutation is achieved. This is Freedom Rock. Turn up the volume. Hasten your emancipation. Sonic joy awaits.”
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 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 as Pig Man Lives, you won’t have to anymore.
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. 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 SEGALL trails through his back pages, reflecting on family, re-encountering pasts, anticipating futures. 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.
This S/T, by The C.I.A. is an urgent musical notice. I feel it immediately. The pointed vocal cadence & lyrics of Denée Segall (Lamps, VIAL) is a sharp scythe, and the actual time is…Now.
I feel the same distress call and disposition from Crass records like Penis Envy or DIRT. in fact, if you took that…mixed in “Black Silk Stocking” by Chrisma and a touch of early Nic Endo (Atari teenage riot) and even Dinah Cancer (45 Grave) “Autopsy” era, you can get a feeling. And Similarly to those mentioned, Denée is putting a time stamp on THIS time. The spirit and her viability is strong in many a corner, and in many a heart. The alarm is ringing.
Aagoo Records is proud to announce the release of TY SEGALL’s “Fanny”—a psychedelic ode to his dog—on standard 7” and limited-edition picture disc editions. Not only does Segall’s single feature various cover and insert art painted by Segall himself, but the track in three different forms: the demo, a revved-up “sketch” and a live recording from San Diego, California. Each side of the picture disc features a yellow dog face painted by Segall, from his acrylic painting “Goopy Poodle.” Stare at it long enough: it’s oddly comforting! And the “Fanny” 7” is for a canine cause: all proceeds will go to animal rescue organizations NKLA and Mighty Mutts, which are dedicated to rescuing and rehabilitating the strays of Los Angeles and New York. It’s a tribute to our canine friends only Segall could make.
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.
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 affirm on Joy, rock in 2018 is dead, don’t come around here looking for no burial. Instead, find 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 traveling from the same place, occupy one single headspace, finishing 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 trifle 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!
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! 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.
The second collection of singles from the one-and-only TY SEGALL. Features non-album singles and B-sides from the Goodbye Bread, Twins and Sleeper era (2011-2013), including covers of GG Allin, Velvet Underground and The Groundhogs. Includes the songs: “Spiders,” “Hand Glams,” “Cherry Red,” “Falling Hair,” “Children of Paul,” “It’s A Problem,” “Mother Lemonade,” “For Those Who Weep,” “Fucked Up Motherfucker,” “Femme Fatale,” “Music For A Film,” and “Pettin’ The Dog.”