Archive for Ty Segall

Wand Brought Their Sweet “Plum” To DC9, And Played The Most Exciting Show In Memory

Posted in Music with tags , , , , , , on October 9, 2017 by johnbuckley100

Wand 2017All images Leica Monochrom and 35mm Summicron v. IV

The D.J. was playing Television’s “Marquis Moon” when Cory Hanson climbed up on DC9’s stage last night and strapped on his Stratocaster.  He played along for a moment, which makes sense when you consider that our early warning on how powerful Wand’s new album Plum would be was when Hanson told Uncut, “I was reading about how Television wrote Marquis Moon and they’d go into their rehearsal space five days a week for four hours a day.  So I decided to go in six days a week for 10 hours a day.  We pushed harder to see what would happen.”

Wand released “Blue Cloud” a few weeks before pushing Plum out the door, putting us on notice that not only was Wand ready to rehearse like Television, they wanted to beat them at their own game.  And from the moment last night that Evan Burrows furiously kicked into “White Cat” and Hanson and new addition Robbie Cody began trading guitar lines like Verlaine and Lloyd, it was clear they had.  As great as Television were (and are), Billy Ficca is no Aynsley Dunbar, and Burrows is unquestionably the greatest drummer playing in a band today.

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We feel like Wand has grown up before our eyes, from their 930 Club debut in 2014 opening for Ty Segall to their stunning show at the Black Cat in 2015.  From the release of Ganglion Reef to Plum, they’ve grown from songs with titles like “Flying Golem” and “Reaper Invert” to becoming surely the only rock band extant to write a poignant song called “Charles De Gaulle.”

On their first two albums, born like Catholic twins maybe 10 months apart, their early roots showed the influence of mentor Ty Segall, with Black Sabbath chords played at speed metal tempi.  But Hanson’s always had a melodic grounding, and any band that could put “Growing Up Boys” on their first album was destined for great things.  With Plum — with shows like the one they put on last night — their destiny has arrived.  We can’t think of a better album released this year, nor a better show than we saw last night.

Since they were here last, Sofia Arrequin was added on keyboards and vocals, and with her arrival Wand’s sound has shifted from synth-heavy support for Hanson’s fluid guitar and pretty voice to a band playing with the fluidity of White Denim, the guitar interplay of the Soft Boys.  They’re a unit built around the core propulsion of a breeder reactor, but could only be riveted tighter if they rolled out of the Boeing factory.

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Cory Hanson has the preppy good looks of a Kennedy, and he came out in similar garb to what he was wearing last year when he and Burrows – for a few months putting Wand aside — toured as part of Ty Segall’s Muggers.  Since then, Hanson’s released a solo album as distant from Wand in it’s delicate sound as fellow Angeleno Shannon Lay’s Living Water is from her punk band Feels (also once produced by Ty Segall).  Taking a vacation from the thunder of Wand’s first two albums, and the ambitious prog-pop of their third outing 1000 Days was clearly good for the band, as were the additions of the two new members.

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Wand is at the height of their powers, but writing that we know they still have plenty of room to grow.  Some strong albums have been released this year by both Ty Segall and West Coast giant John Dwyer, whose Oh Sees made our August.  But among the West Coast’s finest, Wand’s come out on top, the best young band working today.  We stand back in awe at the prospect of what they’re capable of.

On “Orc,” Thee Oh Sees’ 19th Album, John Dwyer Makes A Statement

Posted in Music with tags , , , , , , on August 30, 2017 by johnbuckley100

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Orc is, if you can believe it, Thee Oh Sees’ 19th album.  Though it’s their first album under the name “Oh Sees.”  Whatever this is, however you count it or categorize it, John Dwyer has by now built such a confounding, amazing, gorgeous, pulverizing body of work there should be a monument to him just outside the Temple of Real Rock’n’Roll.

Less than four years ago Santa put a lumpa coal in our Christmas stocking with the news that Thee Oh Sees were breaking up.  It was particularly disheartening because the gang at Tulip Frenzy had just voted Floating Coffin the #2 album on that year’s Top Ten List (c). Lo those many years ago, we wrote, “You have no idea what Thee Oh Sees are going to come out with next!  A No Wave rock opera.  Speed-metal yodeling.  Eddy Cochran backed by zithers. We are completely serious: this is a band that through sheer dint of trying proves every mother’s maxim that if only little Johnny puts his mind to it, he can do anything.  If little Johnny is John Dwyer, the answer is yes, yes he can.  And you would be well advised to catch up.”  Have to say it, that was good advice then, and now.

If John Dwyer had thrown in the towel then, he would have assumed his rightful place in history; that here we are, four years and five albums later, and his replacement unit from the Oh Sees classic of the early part of this decade has now fused into nothing less than a machine and you can see why we are so thrilled that Orc has joined the party.

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Here’s all you need to really know, if you are not someone whose large ganglia have twitched to Dwyer’s yips and the propulsive drumming of his 100-horsepower twin tyros lashed to the back of his guitar work.  The big question about punk rock was always what it would turn into when the primitives learned to play.  You know, not every band could be the Clash and by Sandinista be playing Mose Allison covers and pushing at the forefront of what was then called rap.  But at least three recs ago, Dwyer showed he could play guitar like Jimi Hendrix.  That he could compose complex rock songs with a power and beauty that rivaled anyone who’s ever admitted to participating in the genre.  That he seriously could, on the same album, mix punk, prog rock, garage, psychedelia, and pop.

Last year, on the matched pair albums of An Odd Entrances and A Weird Exits we really could see adding jazz and Krautrock to that list. He is the magpie’s magpie, but that implies a lack of originality and in fact he’s the opposite.  A guy who as recently as 2011 was playing punk rock at high speeds is now capable of anything.  Here’s an example: on Orc‘s “Keys To The Castle,” we start out on a light jog, John Dwyer singing harmony with (we hope) once + future Oh Sees singer Brigid Dawson, and ‘fore ya know it we’re traversing a steeper pitch with some classic punk chords as the song intensifies.  And there there is a pause… and we come back at slow mo’ speed with cello and organ and synth, in a lovely electric piano chordal half-walk, the sounds of space wrapping your face, and for the next four minutes, you are in a dream.

We’d say he does that on every song, but in fact, “Keys To The Castle” is both a standout and also, if you’ve been paying attention, just exactly what we’ve come to expect from the impossible-to-pin-down Mr. Dwyer and his morphing set of musicians and band names.

For the past six or seven years, we have lived in a Golden Age of Rock’n’Roll due to the presence of John Dwyer, Ty Segall, and White Fence’s Tim Presley.  If the advance word on Wand’s new rec is right, add Cory Hanson to the list of West Coast genies making life worth living.  John Dwyer’s band(s) have pushed forward a 60+-year old genre in part by reconciling all its best pieces.  On Orc, he makes a statement.

And did we mention that just yesterday came word that Thee Oh Sees’ 20th album will be released in… November.  It is said to be coming out under the band’s original name, OCS, and will be “pretty, pastoral, folky, with string arrangements by Heather Locke and brass arrangements by Mikal Cronin.”  We cannot fucking wait.

Nashville Garage-Rock Tyro Ron Gallo’s “Heavy Meta” Just Stove Our Brains In

Posted in Music with tags , , , , , on February 26, 2017 by johnbuckley100

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From the album cover of Heavy Meta, you’d think Ron Gallo was getting ready to audition for The Jimi Hendrix Experience, what with the white guy’s Afro and all.  And that’s not a bad place to set certain coordinates — we’d love to hear him play “Hey Joe,” because he’s a solid singer and an ace lead guitarist.  Trust us when we say, we haven’t gotten so knocked over by discovering a new tyro of real rock’n’roll since we first heard Ty Segall’s Goodbye Bread.

Not to be confused with the ’70s paparazzi of the same name, Ron Gallo had us before we ever heard this incredible album.  See, in the new Uncut, which gives him the treatment he deserves — interview, record review, even a spot on their monthly featured songs — he identified Robert Quine as his musical inspiration.  That’s an excellent place to begin, and in fact, “Put The Kids To Bed” sounds a lot like Quine’s playing with Richard Hell and the Voidoids, while “Don’t Mind The Lion” could be a Lloyd Cole song with Quine playing lead.  But even though Gallo has many easy reference points — his voice can quaver like Devendra Banhart, various songs resemble what we imagine Damon McMahon’s punk projects separate from Amen Dunes sound like, and he’s enough of a classicist that on “Black Market Eyes,” the guitar figures quote at length from Small Faces’ “Flying”– this is an original, powerful artist with a crack three-piece and an album well-enough produced we know it won’t languish in the up’n’comer pile for long.

We can imagine others referencing in the same sentence Brendan Benson, The Cramps, maybe even Roky Erickson.  But let’s give Ron Gallo credit where it’s due: he has on “Heavy Meta” just launched headlong into the center of the rock’n’roll universe, with an album that anyone who loves Ty Segall, Thee Oh Sees, or even Jack White will immediately respond to.  Filled with energy and brains, this record is going to dominate the early innings of 2017, and we know we will be listening to this 29-year old phenom for years to come.

Opening for Hurray For The Riff Raff at the 930 Club in DC on April 23rd.  See you there.

Ty Segall Revives The Lost Art Of The Album

Posted in Music with tags on February 5, 2017 by johnbuckley100

ba75464c379f3e3f975c0a94673e6f59Just when you think Ty Segall is mortal, he astounds you all over again.  We didn’t love Emotional Mugger when it came out a year ago, though we admired its conceptual breadth. But with the eponymous Ty Segall, the West Coast wunderkind has done more than release the best album of an intense, hugely productive career.  He has revived the album format, which has been under assault since the dawn of MP3s.

Sticky FingersImperial Bedroom, even — especially? — Sandinista were all exemplars of that long lost artform, the pacing of an album as a collection of disparate songs, showcasing different idioms and genres, all adding up to a defining whole.  Last year’s Emotional Mugger was a concept album, a series of connected songs, but the music didn’t really gel.  Or at least it wasn’t a collection of songs I much wanted to listen to a lot.

On Ty Segall, the young genius has pulled together a collection of songs that are remarkably different from one another, but they don’t pull apart, they spin with centripetal force.  The most astonishing song of the lot is the 10:21 suite, “Warm Hands (Freedom Returned)”, which in five movements takes in the whole of Segall protege Wand’s prog, the Santana-influences of the Stones’ “Can’t You Hear Me Knocking,” and two or three of Mr. Segall and his pal Mikal Cronin’s modern Power Pop’n’Punk flavorings.  It’s a tour de force.  But the whole album is, really.

Since Segall’s advent at the beginning of this decade, rock’n’roll has been revived, and he’s the biggest reason.  Yes, we would still have Thee Oh Sees if Ty had not burst upon the scene.  But for at least seven years, Segall’s influence on other artists, and his own great output of self-produced, largely self-created records has added up to a movement.  He’s Shiva, creator and destroyer, making rock’n’roll relevant again.  With Manipulator a couple years back, he seemed to cast his lot with commercial success, and produced one of the catchiest collections of radio rock this side of the White Stripes or the Black Keys.  With Ty Segall, he’s gone for some thing bigger.  An *album* you mention in the same sentence as Sticky Fingers, Imperial Bedroom, even Sandinista.

Ty Segall-Produced Debut By Feels Is Our Summer Playlist

Posted in Uncategorized with tags , , , on July 3, 2016 by johnbuckley100

It must be so much fun to be Ty Segall, to release album after album of high quality fuzz- toned garage rock and the occasional masterpiece (Twins, Manipulator.)  But even if we’re not really grokking on Gogg, his new part-time band with the Swedish backslash through the O, we can only marvel at what a great record he produced by young L.A. band Feels.  While released a few months ago, it only came to our attention as the air grew warm, but has now completely melted over our music player’s hard drive.  Nothing else can stick, because Feels has claimed it, and our ears, and our heart.

This isn’t the first time an incredible young band has been brought to the world, essentially, through the agency of Mr. Segall.  Wand was such a band two years ago, and they’ve now fought their way into the same sentence with Ty, White Fence, and Thee Oh Sees.  Feels is a four-piece fronted by Laena Geronimo, and when you hear them roar on their eponymous debut, the mind starts gathering links to bands as disparate as Hole and 8 Eyed Spy.  Feels is notable for how perfectly the drums are tuned, how hollow is the distortion on the guitar, the great harmonies, the way songs can go off on tangents and come galloping home like a filly that remembered something.

On “Close My Eyes,” we hear echoes of Ty’s own best work — it has hooks a stevedore would struggle to lift, which is one reason it has, for weeks now, hung from the tippy top of my brains.  There is no respite from the tuneful sludge when they head into “Slippin’,” which just as soon as it seems is going to get stuck in the grunge, springs free with a kick and a  “whoo hoo” as infectious as a Brazilian bug bite.  Every so often, when the riff-making seems heavy, they break into a double-time trot that would make Exene and John Doe smile.  And if you don’t believe me, go listen to “Tell Me,” the summer’s catchiest song.

So, it is good to be Ty, who appears to be having the time of his life, playing with whomever he chooses, whenever he wants.  But every once in a while, when a band like Feels gets introduced to the world through his auspices, we are reminded what a force for good he is, how generous he can be, and why this decade is, past the mid-point, shaping up musically as stronger than even the ’90s.

Ty Segall’s 9:30 Club Show And The Triumph Of Willful Perversity

Posted in Uncategorized with tags , , , on February 26, 2016 by johnbuckley100

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It’s a little perverse when a brilliant musician, whose typically raw but highly polished albums feature him playing every single instrument, turns over the playing to a band of aces.  At this point in his career, though, Ty Segall knows exactly what he’s doing: his perversity is willful.

Ty is a once-in-a-generation inspiration, a revivalist of real rock’n’roll who has an impact on the entire West Coast punk rock environment, but he’s a primitive, right, so it’s okay if we don’t delve too deeply into the meaning of his baby’n’umbilical-chord persona with which he came out flogging his new album, Emotional Mugger.  It’s okay if we don’t accord him the depth of a Bowie, or even a Stephen Colbert, when he abandons the guitar and instead plays a character on the album and stage.  Let’s take this at the level at which we have always viewed him: pure rock’n’roll power, a character like Iggy Pop is a character, not on the level of Ziggy Stardust.

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The Muggers picked our pockets and left us bowled over on the floor, with Evan Burrows of Wand creating his own little breeder reactor on the drum kit, his fellow bandmate Cory Hanson filling in on synth and guitar, and King Tuff, looking like he’d just stepped off of a Captain Beefheart and the Magic Band photo shoot, laying down the leads that heretofore Charles Moothart (whose CFM was an amazing opening act), or Ty himself would have played.  Not having to play guitar left Segall able to tiptoe to the edge of the crowd, inspiring all manner of surfers, including one girl who safely was carried back to the sound booth, returning to the stage with a game face and no doubt minor bruises.

Ty 2016 TFrenzy-3The last time Ty hit the 9:30 Club stage, he was touring behind his most commercial album ever, Manipulator, which had Black Keys hooks with a sharkskin sheen.  Emotional Mugger is at once as ambitious as Manipulator but also deliberately repellant and obscure, but live — and with this stellar band backing him, baby head and all — the tornado force of the music was nothing less than fun.

Ty 2016 TFrenzy-6We don’t really pretend to know why, midway through the set, he went back into character with the baby head and all, just that by the time he played “Candy Sam,”the crowd would have followed him to pillage all the chocolate shops on U Street.

Ty 2016-2When he’d completed the full rendition of Emotional Mugger and we heard the familiar chords of “Thank God For Sinners” from Twins, still his best album, it was great to have him shed the mask, ditch the character, and get back to Ty Segall, the tyro of his age.  “Manipulator” and “Feel” from his last real album were a reminder of what this guy can do, especially when a drummer like Evan Burrows is banging a gong.  In this miserable political year we’ve witnessed one guy with blonde hair get crowds to respond to his manipulations in an ugly manner.  Great it was last night to see another guy with blonde hair whip a crowd into a frenzy with the benignity of the cathartic arts.

New Music — The Auras, P.J. Harvey, Iggy — With Which To Survive A Blizzard

Posted in Uncategorized with tags , , , , , , , on January 27, 2016 by johnbuckley100

Snowzilla, as it was dubbed, has kept us mostly cooped up, but are we suffering from cabin fever?  Well, sure, yeah. But it would have been so much worse if we hadn’t had new music to listen to:

  • The Auras released their Saturn Day e.p. two weeks ago, and it merely confirms Tulip Frenzy was correct in giving them 2015 Psych Band of The Year honors. The six songs here continue the young Toronto band’s winning streak of Spaceman 3-inflected, Nuggets-inspired garageband excellence.
  • P.J. Harvey has given us a teaser from The Hope Six Demolition Project, which is to be released in April. “The Wheel” sounds like it could have been on 2011’s Let England Shake, if that album had been recorded with a horn section and been a narrative about Southeast DC, not Albion in WW I.  We have a calendar up on the wall with all the days marked between now and when Polly’s new one hits the world.  One fewer day after this one…
  • Iggy Pop has, as the world now knows, teamed up with Josh Homme and members of the Queens Of The Stone Age and the Arctic Monkeys to record a new album, Post Pop Depression.  We’d be excited enough by “Break Into Your Heart” — a far more welcome discovery after having been dropped onto our iPad in the middle of the night Sunday than was the two feet of snow dropped onto our streets Friday-Saturday.  But “Gardenia,” which is available both as a download and, should you be so inclined to seek it out, performed live on Colbert last week, is a revelation — Iggy’s best song since Naughty Little Doggy.  If like me, David Bowie’s death already sent you back to those great Iggy albums, well, let’s just say March can’t get here soon enough.
  • Eleanor Friedberger‘s New View is excellent , the best thing she’s done since her days with brother Matthew in the Fiery Furnaces.
  • Ty Segall‘s Emotional Mugger has not grown on us yet.  We keep trying to like it — and Lord knows we’re inclined to.  So far, it seems a muddle.
  • John Cale likewise has not stayed on the Victrola for long, even as we’ve tried grokking both M:FANS and the reissue of Music For A New Society on which it was based.  We stand second to none in our admiration of the great Welshman, but we’re getting a little concerned that we haven’t liked much that Cale has put out since blackAcetate in 2005.
  • Heaters became known to us via Uncut‘s review of their 2015 Holy Water Pool, which if you like the Cramps and can imagine how a psych band could make optimal use of  Poison Ivy’s infectious riffs, you will love.

Finally, we have to offer a preview of coming Tulip Frenzy mania: through diving into Heaters, pulling on threads until we discovered bands they play with in their midwest stomping grounds, we discovered Heaven’s Gateway Drugs.  Wow.  Go download their 2015 single “Copper Hill,” which sounds like the Warlocks cast a potion on The Auras in Olympic Studios circa 1967.  More on these guys, we promise — especially since a new album (their third) is in the cards for 2016.

And how can we honestly talk about the music we’ve listened to this past week without just declaring All Bowie, All The Time?

 

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