.Council Music Group.

Ty Segall - Twins

Type ........: Album
Music Style .: Rock
Release.Date : 04.01.2013
Release.Size : 70,3 MB
Playtime ....: 35:46 min

Grabber .....: eac
Encoder .....: Lame 3.98
Label..:.....: Drag City
Source ......: CDDA
Tracks ......: 12
Bitrate......: avg. 274kbps
Frequency....: 44,1kHz
Mode ........: Joint-Stereo

..;.TracKList.;..

01   :::   Thank God For Sinners                :::   02:50
02   :::   You're The Doctor                    :::   02:01
03   :::   Inside Your Heart                    :::   03:41
04   :::   The Hill                             :::   02:39
05   :::   Would You Be My Love                 :::   02:16
06   :::   Ghost                                :::   04:14
07   :::   They Told Me Too                     :::   03:06
08   :::   Love Fuzz                            :::   03:34
09   :::   Handglams                            :::   03:19
10   :::   Who Are You                          :::   02:04
11   :::   Gold On The Shore                    :::   02:36
12   :::   There Is No Tomorrow                 :::   03:26

Total   :::   35:46

..;Release Notes;..

Ty Segall is in an odd position. The San
Francisco garage-rocker has always been
prolific, but after four years of albums,
collaborations, singles, and covers, his
discography has become particularly
unwieldy. His output from the past year
alone has been diverse. On Slaughterhouse
(and on stage), he's an impish, thrashing
apostle of hardcore and 1970s hard rock.
With Hair, his collaborative album with
White Fence, he angled for jam-heavy,
psych-leaning rock'n'roll. Only a year
ago, he delivered his "serious" album
Goodbye Bread, where he both cooed calmly
and screamed about an exploding head.
Impressively, all three of those albums
are really good. It's a testament to
Segall as a restless songwriter who can
adapt to, and successfully execute,
several different styles. So here we are
with Twins, his third LP of 2012, which
stands at the intersection of all of his
recent interests.

In the tradition of Lemons and Melted,
which each had ballads alongside searing
garage punk, the new album doesn't have a
unified focus. With the exception of
frenzied, shredding highlight "You're the
Doctor", there's nothing especially
aggressive. "Gold on the Shore" is his
acoustic-driven, folky, sentimental love
song. Then there's "The Hill", the bleary
psych track where Segall's voice recalls
John Lennon's on "Tomorrow Never Knows".
(The track also features some beautiful
vocals from Thee Oh Sees' Brigid Dawson.)
There are familiar elements from Segall's
backlog in play, like that specific fuzz
guitar tone, which is something like his
trademark at this point, and some
two-minute songs-- a number that's
especially apparent on his recent Singles
collection. Those bite-sized singles pop
next to lengthier tracks like "Ghost",
the slower stoned jam, or the romantic
and apocalyptic closer "There Is No
Tomorrow". With each new song, hook,
idea, and tone, it's increasingly clear
that Twins doesn't fit in any one box.
It's a grab bag, and it's easy to view it
as a disappointment-- to look at Segall's
disparities in 2012 and want him to pick
a sound and follow it for 12 tracks. But
alongside his engineer partner Eric Bauer
(often credited as "King Riff"), he
delivers a series of songs that, despite
their aesthetic differences, flow very
well. Even when he makes a significant
jump, like from the giddy rampage of
"You're the Doctor" to the paranoid
stoicism of "Inside Your Heart", there's
usually an easy thematic or sonic
transition that keeps the album from
sounding like a compilation. In that way,
it's close in format to Goodbye Bread,
which maintained cohesion despite several
shifts in delivery and tone. Twins'
offerings, however, are far more sugary
and immediate: faster tempos, thicker
fuzz, more power.

Lyrically, Segall thrives in two modes:
songs about love with very
straightforward wording ("Love Fuzz" is a
falsetto stab at seduction; the content
of "Would You Be My Love" is pretty much
stated right there in the title), and
stories with a more fantastical bent. The
latter approach was prevalent on
Slaughterhouse and especially "I Bought
My Eyes", and it comes into play here
with the darkly abstract "Handglams" and
the creepy "is it living inside of me"
tale of "Inside Your Heart".
In the liner notes, Segall writes two
things that feel fitting for Twins. "This
record is for San Francisco." That makes
sense-- the man's a frontrunner to become
San Francisco's garage laureate. But he's
also talking about his friends and
inspirations-- he mentions White Fence's
Tim Presley, Thee Oh Sees' John Dwyer,
and the rest of the Ty Segall Band by
name. It's easy to hear how the album
fits tidily in San Francisco's bigger
picture-- to hear Dwyer's
"falsetto-as-primary-vocal" on "Love
Fuzz" and "Handglams", to hear Sic Alps'
elegant minimalism on "Gold on the
Shore", to hear the whole town's penchant
for mysterious and druggy storytelling,
etc.

His final "thank you" in the liner notes
goes to Neil Young, an artist who, as
soon as the masses pegged him with a
genre, did whatever the fuck he wanted to
do and didn't look back; who never
compromised on his vision, even when it
meant making a bizarre, shitty rockabilly
album in 1983; who famously "headed for
the ditch" when he felt his radio hits
were "middle of the road." Twins doesn't
stick to the middle or even pick a lane.
It swerves, visiting territory well-tread
with a perspective that feels new, and
knowing Segall, he probably won't make
another album that sounds like it any
time soon.

ty-segall.com

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