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.
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!
His self-titled ninth album was released in January of this year via Drag City.
Master guitarist and improviser, Yonatan Gat (Monotonix) is back with 11 new punk inspired, psychedelic mind-melters. Director is a genre-bending opus that finds the Gat and his band seamlessly exploring different styles of music from Brazilian psych and Afrobeat to free jazz, Middle Eastern surf and 20th century classical avant-garde, sometimes in the span of just one song – “weaving styles together like the great jazz musicians of the 60’s,” (The Bay Bridged).
Gat was recently profiled in the NY Times, and his music was featured on Pitchfork, Vice, SPIN, and Village Voice, who called him “Best Guitarist in New York, 2013”. His unparalleled guitar remains mysterious, wildly inventive and dynamic, taking unexpected psychedelic turns throughout the recordings, backed by Gal Lazer’s virtuosic hard-hitting African-inspired grooves, and Sergio Sayeg’s (of Brazilian garage rockers Garotas Suecas) pumping bass.
Tickets £18.50 +bf adv.
28 New Kent Road, London, SE1 6TJ