Archive for Ty Segall

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?

 

Years Later, Will Thousands Claim They Were At Wand’s Show At The Black Cat?

Posted in Uncategorized with tags , , , , , , , on November 16, 2015 by johnbuckley100

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About three times as many people claim they were at Nirvana’s winter ’91 show at the old 930 Club as could possibly have fit in that skanky room.  Last night, not too many of us were privileged to have been in the backroom of the Black Cat to see Wand, a band that thunders every bit as much as their precursors, while sharing their genius for melody and that genre-busting tightrope walk between metal and pop.  The 70-minute show was at times transcendent.

A year is a long time in pop music, but was it really just last fall that we saw Wand open for Ty Segall, leading us to discover their remarkably accomplished debut, Ganglion Reef?  Since then — all in calendar year 2015 — the band has released two new albums, each better than the last one, a progression of talent that shows great things to come.

The band is now a foursome, so that Cory Hanson has extra help on keyboards and guitar.  As the singer and principal guitarist, the clean-cut Hanson cuts a fascinating figure.  It’s fully to be expected to find him on a stage, but he looks less like someone who can ply the line between noise-rock and Power Pop than someone you’d see on a tech conference panel being grilled by Kara Swisher on why his start-up’s billion-dollar valuation is justified. Wand plays pretty melodies that stick in your head and then, on a dime, they pivot to chest-jarring fuzz-metal.  As the bandleader, Hanson seems as if at any moment he could turn and walk through a different door, and you’d find yourself listening to music in a completely different tempo, volume, and level of intensity.

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But no take on Wand is complete without mentioning that Evan Burrows is a one-man nuclear power plant piston-pounding the drums. If drummers had world rankings like tennis players do, Burrows would be that phenom that went from number 128 to the Top 5 in a single season.  This is evident on the records, manifest live.

We have already stated our dilemma in determining which of Wand’s 2015 records will make Tulip Frenzy’s 2015 Top 10 List.  And honestly, we wish we could call 1000 Days and Golem a double album and be done with it.  But something else came to mind last night when watching this intimate show in which Wand just detonated on stage.  Hanson reportedly was Mikal Cronin’s roommate in LA, and Ty Segall has taken the younger tyro under his ample wing.  In the summer of 2014, Tulip Frenzy declared that we live in a Golden Age of Rock’n’Roll due to the output and sensibilities of Ty, Thee Oh Sees’ John Dwyer, and White Fence’s Tim Presley, and last’s night show by Wand simply confirmed the thesis.  But what also was clear that any listing of West Coast bands and figures leading us to this Periclean age has to include Wand and Cory Hanson.  Those of us who were privileged to be at the Black Cat last night know this.  And we fully expect that a decade from now, hundreds of DC hipsters will claim they were there too, and have known this all the while.

What Recent Live Albums By Phosphorescent, Ty Segall Band And Capsula Say About Those Bands, And Live Recordings

Posted in Music with tags , , , , , on February 18, 2015 by johnbuckley100

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Phospherscent at the 930 Club, January 2014

Time was, live albums meant something, whether it was the commemoration of a killer tour (Get Yer Ya-Yas Out), or just that a record company either was owed an album (Band Of Gypsys) or needed to fill time ’til that epic studio album was done (Live At Leeds.)  Weirdly, live albums have accounted for some acts’ big breakthrough (Peter Frampton, Cheap Trick.) Yet as recording technology and digital distribution made it easy to do, some important bands who play great live — Pearl Jam, Wilco — began putting out damn near every live show.  Which devalued the category, and in a weird way, their live shows.  (Right, if all is available, it loses meaning, and if it doesn’t matter whether it’s live or Memorex, going to the concert is more about getting out of the house than hearing the music.)

We had to wait 16 years after the Clash broke up to get the first collection o’ songs recorded in concert, and both From Here To Eternity and Live At Shea Stadium pretty much suck.  The comparative handful of live tracks that have gotten out from Dylan’s Never Ending Tour tease us, as we know there must be a future Bootleg Series release in which the motherload will become available.  The point here is that official live albums now are a bit like filler, they no longer really excite, they usually just feature different versions of songs that likely sounded better in a studio minus the adrenaline and improvisation that comes from that band you love capturing on tape the magic of that show you missed, or better yet, saw.

So why are we so thrilled to hear the new Phosphorescent album, Live At The Music Hall?  The simple answer is because Matt Houck has produced some very good albums in the past five years, but none of them has entirely hung together… there has always been a bit too much self-indulgent filler.   We were lucky enough to see Phosphorescent live last January, and not only does this record capture the brilliance of songs like “The Quotidian Beasts” and “Song For Zula,” it is perhaps Houck’s first record that hangs together the whole way through.  So in this case, the live album adds a coherence to his work that his studio stuff doesn’t.  Hail Phosphorescent Live At The Music Hall, in which an important, underrated artist and his amazing live band play his songs the way they were meant to be heard.  It’s a little bit like White Fence’s Live In San Francisco: the live album that justifies your patience through the studio albums that never quite got you there…

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Ty Segall at the 930 Club, 2014

Ty Segall doesn’t need a live album to tell you anything about him you don’t know from his records, but *his* Live In San Francisco, released a few weeks ago, does offer those poor souls not in a touring city a sense of what utter freaking mayhem ensues when the Ty Segall Band hits town.  We don’t know the meaning of this album coming out under that name, as the show we saw them play in October was under the aegis of Ty Segall, not the Ty Segall Band.  And come to think of it, this live set contains more of Slaughterhouse than any of Ty’s solo (truly solo) recs. But as a snapshot in time, something we will harken to no mater where Ty’s career takes him (the Pantheon, no doubt), we will come back to this, fer the sheer fun of it all.

In the case of Phosphorescent, if we were Christgau and this was a consumer’s guide, we’d say this is the place to invest your hard-earned shekels.  With Ty, you just need to go get an extra job and buy everything he has put out since about 2011 — live album included.  But this should not, by any means, be the first, essential purchase. (That would be Twins.)

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Capsula at The Black Cat, 2013

With Capsula, though, a band that we have previously called The Greatest Rock’n’Roll Band in the WorldDead Or Alive is definitely a great place to begin, as it quickly proves we’re right, is an infectious party platter, and truly should be valued for the way it points you to their best studio albums (2006’s Songs & Circuits, with 2011’s In The Land Of Silver Souls being a close runner up.)  It gives longtime fans the joy of listening to these amazing musicians without having to travel to Bilbao, where the Argentines now live.

Capsula’s live album fills the role of a great many previous live albums: having put out seven excellent records, in English and Spanish, including a note-perfect (that was the problem) version of Bowie’s Ziggy Stardust, a live album was an inevitability, a notch in the belt, an artifact needed for the formal record.  Capsula is a great live band, and this proves it.  And if you’ve never heard them before, start here.  Unlike Get Yer Ya-Yas Out, this is not the Capsula album we’ll be playing in 45 years.  But as a glimpse of what a powerful sonic machine they are when they get going, yeah, it’s a good ‘un.

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