June 28th, 41 replies Release Date: A ripping little nod to the past. The latest generation of music-makers wears their influences less like badges and more like face tattoos. It used to be that DJ Shadow crushed and recombined the old and unknown, Radiohead looked at rock through the lens of Thom’s favorite electronic producer of the week, and Foo Fighters took the simple melodies of grunge and took away the pesky distortion and emoting. While it may seem pedantic to encase these folks in imaginary cages of genre, they don’t do themselves any favors with their respective product. Take Slaughterhouse as a case study. What with the self-absorbed distortion that both opens and closes the album, the dirt-coated simplistic chord structures, the more-style-than-substance guitar solos, and Segall’s reverb-encased wail, it’s hard not to hear The Stooges or MC5 playing in the back of your head. Taken on its merits, Slaughterhouse certainly isn’t a bad album. The tunes are simplistic but massive, odes to blown-out amps and punk ethos. The guitars are the stars of the sound:
Review: Ty Segall, ‘Freedom’s Goblin’
From scrappy, DIY spaces like the Smell, all the way up to the legendary Hollywood Bowl, L.A. teems with superb concert venues. Here are 50 of the best.
In it, he mentioned some classic rock standbys and then described what has over time become a fairly common eureka amongst musicians born after , which is that introduction and subsequent immersion into punk rock music. Segall, though, being more of a lo-fi psych rocker, continues to hold onto the colorful, acid-soaked disposition of the s despite some fascination with distortion-induced anti-clarity.
And, of course, Manipulator is no exception. You need not listen too far past The Clock to understand what a fascinating songwriter Segall is, chamber-inflected guitar noodling and string arrangements incorporated well into a high-tempo rock song. The sturdy acoustic vs. The same can be said for the electric folk of The Hand, a gorgeous plucked intro preceding a pronounced acoustic strum.
A rather sinister tone accents The Feels, charred blasts of guitar sound filling any available space. The album ends with Stick Around, which features some nice harmonizing between guitar and strings, delicate flutters of tone animating its otherwise ballad-centric persona.
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The machines are playing ‘kill-by-numbers’ Down in the park with a friend called ‘Five’ In Fall , I attended a coffee shop fundraiser for a progressive political organization. The Big Election was coming up and, being in a more sensitive frame of mind than usual, I attended. The weather was pretty depressing, as I recall, and there was a sense of real pessimism in the air.
Still, local bands, some containing friends, were playing and a full afternoon, if not an actual good time, was guaranteed for all. The line-up consisted of eccentric New Weird Folkidelica alongside potent electronic avant-gargling and a classical string duo. Alec K Redfearn , an accordionist, close friend, and on-off bandmade of Yours Truly, also played a set.
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He does all of his own stunts. Nearly a decade later, Ty Segall continues to enthrall and enrapture his fans with powdered guitar tones, crispier than Panko. Quarter or no quarter, the Wurlitzer anchors the ship, but only for a minute. High praise goes to Ben Boye, the boy wonder, whose pianism is a subtle beast on the LP. Its humbled twang is worth all of its weight in gold. At this interval, all the fun and lovely, extemporaneous shredding comes to a halt, but not for long.
The acoustic rippings are certainly comparable to the delicacy and finesse. Rex and why the Kinks made so much sense in 90s California. The last one is the scorcher-ballad of this batch. The belle of the ball.
Mikal Cronin in 10 Songs
Ty Segall at Ebrovision festival, Spain, August Anyone can listen to anything, from any era, on YouTube and take from it what they like, often without the burden of context. Genres are increasingly porous. Anachronisms no longer clang. Artists have always been magpies; now they are corvids on steroids with terabytes of storage, emailing bits of music to collaborators, rather than sharing physical space with them.
Man Man and Etran Finatawa [photo: Axis of Conversation take it to the street The scene: As dela Torre spat rhymes about Sofia Coppola, minidiscs and long walks alone, the surprised morning audience was transported somewhere else altogether. Vincent stood out like a mirage. Draping her ethereal voice over a somehow even slower pace, Royal Tenenbaums flashbacks flew to mind and all kinds of beautiful happened. A welcome return to the Calgary Folk Fest after her previous performance in the year If you ever get the chance to munch on their delicious fish tacos, take my advice and dive right in.
Debashish Bhattacharya and Etran Finatawa [photo: Confused sound guy meets Konono No.
Girlfriend chords ver. 3 with lyrics by Ty Segall
However, as bad as an album is received by critics, you should never let other reviewers influence your opinion towards an album. Nonetheless, even if the album is terrible, always look for something in the album you like. How the hell can a prominent influential artist like Phair turn into Avril Lavigne and make music considered teen pop? But if I heard this song in an episode of Gilmore Girls, not knowing it was Phair, I probably would not mind her pleading vocals. It is okay for good artists to make bad music.
Here are six albums critics and listeners should reconsider.
Philharmonic, plays a symphony. Masonic Lodge at Hollywood Forever Walking past the cemetery gates, with the scent of rotting flowers kissing you on the nose, there’s this creepy Faustian bargain that plays in your mind: The Masonic Lodge is where both Satanists and romantics can obsess over death. There’s no backstage, so the band walks through the audience usually about worshipers to deliver their musical sermon. You’re basically in a Spanish-style church, witnessing what was once considered “the Devil’s music.
This is the ideal venue to see an intimate gig, tap into the occult, or see Johnny Ramone’s restless ghost. The Smell The Smell is the kind of venue where you can see a guy running around in tighty-whiteys, handing out unwrapped Halloween candy and screaming unintelligible words into a microphone, then douse himself in lighter fluid and roll around on the ground with his ass on fire that was my first experience. For 17 years, making it L.
The Bootleg You’ll find the best small-club sound in L. The somewhat hidden independent venue, which opened in , is home to screenings, live theater and music. Like any local venue, their Monday night residencies are always worth checking out, but their knack for foreign artist showcases, like their recent Japan Nite, is where the Bootleg really thrives. The beer selection is great and well-priced and it’s always reassuring to see the sound guy pacing through the audience with an iPad to ensure excellent sound quality from anywhere in the room.
Changes are in store for the venue; after working for many years with concert promoters The Fold, they are going to start booking in-house and targeting a stronger relationship between theater and music.
Ty Segall, ‘Emotional Mugger/Leopard Priestess’ (Live) : NPR
October 19th, 10 replies Release Date: Ty Segall doesn’t rewrite the book, but he’s great at following the instructions It’s an interesting trend in music these days that the smallest bands are the ones making the most noise. The Black Keys, a bluesy garage-rock duo, gained mainstream recognition and success coming on the heels of their especially loud album Brothers. Similarly, Sleigh Bells found themselves thrown into the spotlight after songs like “Kids” and “Infinity Guitars” blared through the speakers of televisions across America on commercials for MTV and Canon.
Sleigh Bells, like the Black Keys and the originally kings of noisy garage rock The White Stripes, are just two people and a whole lot of decibels.
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In The Red Buy it from Insound In this age of instant gratification and immediate access to almost anything you want, it can be highly frustrating to hear very little from the artist themselves. Actually though, for Ty Segall, this could be considered somewhat of reduction in workload. During his earlier years he was releasing up to nine records in a single annual smattering.
So what do we want from our favourite artists?
But 30 seconds in, that side almost completely disappeared as he ripped into the power chord that fuels the chorus of the song. He rolled off into a series of songs without stopping for introduction, letting the audience grow more and more frenzied with every screaming solo. Though only 30 years old, Segall has already released 10 solo albums, making him one of the most prolific rock artists of this time. His lyrics are often more straightforward than they are poetic or symbolic, resembling the Black Keys more than the White Stripes.
His lengthy songs instead let the instrumentation shine, and this quality becomes even more apparent in his live performances. But even though Segall has a far-ranging discography to choose from when crafting his set lists, he still includes covers of songs from the groups that helped to shape his unique sound. But his continued performance of classic covers is only one of the many ways that Segall stays in touch with the sound of rock across several generations.
Born in , Segall entered the music scene after the New York rock revival movement from bands like the Strokes, the Vines, and the White Stripes. But where those bands looked to forge a new kind of gritty rock, Segall made sure not to lose the influence of older artists like the Beatles, the Grateful Dead, or Chuck Berry in his music.
Every generation of music fans brings a fresh crop of nostalgic whining about how the way we listen to and appreciate music has changed so much, and that there are no artists these days who come anywhere close to the level of the Beatles or the Stones. His extensive recordings speak for themselves, but in a live setting, the man is able to pull of Hendrix-like solos without losing the crowd in his more distorted songs.