Ty Segall - Possession
A year and a half removed from the trenchant identity opus of his âThree Bellsâ song cycle, Ty Segall has beamed himself out from deep within psychic interiors.
Hitting the trail beneath the big skies of that good olâ frontier empire, heâs on the hunt for new horizons - and itâs frankly astonishing to hear, at this mature point in his discography, the discovery of invigorated new sonics around every bend.
Thatâs simply what Ty does with his music.
Here, compulsive rhythm arrangements are joined in battle by sweeping movements of strings and horns that further the charge righteously.
Be it de Toqueville, duBois, George H Nash, Howard Zinn, Bob Dylan or âSmileâ-era Beach Boys, it doesnât matter where you get your history: whether you wanna party like itâs 1999 or 1699, the stories you like to tell yourself tend to reinforce what you already believe.
But what if they didnât?
Here, coursing through the irresistibly high music spirits, Ty foists social concepts that you wonât read about in school.
In the process, he manages to slip discreetly in and out of the ranks of silver-tongued bums, fly-by-nights and way-outs like Cheap Trick and Steely Dan, never tarrying long enough to retain their distinctive ordure.
One of the keys to this new music involved tapping an old friend and collaborator, filmmaker Matt Yoka, to write with him.
As a non-musician, Mattâs language sense is different from the one Tyâs amassed as a player of music. With the trust theyâve developed over the years - brainstorming the visual worlds of âGoodbye Breadâ, âManipulatorâ, âEmotional Muggerâ and plenty more, they throw the conceptual ball back and forth to translate general vibes and feels into wicked lyric imagery, each acting as writer and editor in the process.
Through these lyric sets, Ty found new scansion and different shapes suggesting the qualities of the songs, and of an overall arrangement sense.
Thatâs where the other keys came in - piano keys!
Tyâs been woodshedding on the 88s, the 76s and/or the 61s; they add new outlines and shadings to the music, fortifying his fantastic plastic vision left and right.
Rife with singing guitar leads and Wizzardian brass and reeds lustily riffing on the banks of
Tyâs harmony vocal choir, âPossessionâ features some of Tyâs most inspired songs to date.
Itâs a post-âParadise Cityâ map of the American way, moving and grooving, but not pointing fingers even as childish fantasies splatter across the windshield.
Taking back alleys through complicated cityscapes, ripping riffs jaggedly out of past hits for a new purpose, Ty scans the wreckage scattered all around, singing about the end of the rope while resisting defeat - suggesting an ecstatic new empire to build as he cruises the countryside in his glittering craft.
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Description
A year and a half removed from the trenchant identity opus of his âThree Bellsâ song cycle, Ty Segall has beamed himself out from deep within psychic interiors.
Hitting the trail beneath the big skies of that good olâ frontier empire, heâs on the hunt for new horizons - and itâs frankly astonishing to hear, at this mature point in his discography, the discovery of invigorated new sonics around every bend.
Thatâs simply what Ty does with his music.
Here, compulsive rhythm arrangements are joined in battle by sweeping movements of strings and horns that further the charge righteously.
Be it de Toqueville, duBois, George H Nash, Howard Zinn, Bob Dylan or âSmileâ-era Beach Boys, it doesnât matter where you get your history: whether you wanna party like itâs 1999 or 1699, the stories you like to tell yourself tend to reinforce what you already believe.
But what if they didnât?
Here, coursing through the irresistibly high music spirits, Ty foists social concepts that you wonât read about in school.
In the process, he manages to slip discreetly in and out of the ranks of silver-tongued bums, fly-by-nights and way-outs like Cheap Trick and Steely Dan, never tarrying long enough to retain their distinctive ordure.
One of the keys to this new music involved tapping an old friend and collaborator, filmmaker Matt Yoka, to write with him.
As a non-musician, Mattâs language sense is different from the one Tyâs amassed as a player of music. With the trust theyâve developed over the years - brainstorming the visual worlds of âGoodbye Breadâ, âManipulatorâ, âEmotional Muggerâ and plenty more, they throw the conceptual ball back and forth to translate general vibes and feels into wicked lyric imagery, each acting as writer and editor in the process.
Through these lyric sets, Ty found new scansion and different shapes suggesting the qualities of the songs, and of an overall arrangement sense.
Thatâs where the other keys came in - piano keys!
Tyâs been woodshedding on the 88s, the 76s and/or the 61s; they add new outlines and shadings to the music, fortifying his fantastic plastic vision left and right.
Rife with singing guitar leads and Wizzardian brass and reeds lustily riffing on the banks of
Tyâs harmony vocal choir, âPossessionâ features some of Tyâs most inspired songs to date.
Itâs a post-âParadise Cityâ map of the American way, moving and grooving, but not pointing fingers even as childish fantasies splatter across the windshield.
Taking back alleys through complicated cityscapes, ripping riffs jaggedly out of past hits for a new purpose, Ty scans the wreckage scattered all around, singing about the end of the rope while resisting defeat - suggesting an ecstatic new empire to build as he cruises the countryside in his glittering craft.
