Album Review: Gianluigi Marsibilio 



Ty Segall ‘Deforming Lobes’
(Drag City) 29th March 2019


The gun that killed Van Gogh will be sold in early summer. But if you don’t have the money to hurt yourself, figuratively speaking, listen to Deforming Lobes by Ty Segall; a concentrate of wickedness that will leave you lying in bed and breathless.

The record is taken from a series of live shows, so well built that it looks like a jam session in the studio, its production is incredible and can connect, even through digital support, each listener, to the room in Los Angeles where the concerts were held.

The record is, in the endless production of Segall, already essential because it allows everyone to get a precise idea of who it is, what it does and how it lives.

In a beautiful piece in the New Yorker on David Baker are these words, taken from the poet: “The only conclusion to be drawn is that “there are so many, too // many of us”; and yet “the world keeps making – this makes no sense – / more”, Ty Segall, plays with polysemy, with the sense to give meaning to the impossible.

The noise of the crowd, even if it’s a live show, is eaten by the infernal sound of the instruments that travel on stage and splash on pieces like ‘They Told Me Too’ or ‘Breakfast Eggs’. The record really gives a new meaning to Segall’s complete production and for the first time, after listening to a live record, I didn’t get bored and indolent.

The enigmatic and shining The Groundhogs are a point of reference and then the cover of ‘Cherry Red’ is fundamental, to immerse us, once again, in the record and in the world of Ty.

The record is subaqueous, in the sense that it makes us descend, layer after layer, to an area near the Marianne Falls.

Smoothing and gliding over new ideas for one’s musical future seems to be the intention of this record: A sort of scale to understand where to shift the weight of unpredictability for the near future.

To get the work he’s done with the Freedom Band is essential to the launch of Deforming Lobes, which is already a fundamental step towards understanding the elastic and eclectic madness of Ty Segall.

You want one last reason to launch yourself into this record: it was edited by Steve Albini, who between a poker tournament and the other, gives us these wonders of accuracy.




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LP Review: Words: Gianluigi Marsibilio 



Ty Segall & White Fence ‘Joy’ (Drag City)

Disorder and progress. Joy is an album that embraces Ty Segall‘s psychedelia and White Fence’s potency within the enhanced framework of short and hard tracks. Songs that seem to test a space rocket, launch tests on a poetic platform, finding a peak of fleeting delirium.

Intentions are fully understood in songs such as ‘Body Behavior’, or, where those contrasts emerge between the song form and the small textual pearls that are drawn.

The storytelling of this work is strongly linked to productions like DRINKS or the Body/Head. The structure and thoughts of these pieces is inspired by bands like Palberta, which in the abstract research and in the fast songs, enhance their skills.

“Everyone makes grammar mistake”, Joy wants to wallow in these mistakes: teasingly. In a song that repeats ‘Hey Joel, where are you going with that?’ Hendrix takes over to play on the supposed death of rock.

The most concrete and poetic text of the album is in ‘A Nod’, where Segall sings: “Tried to please my mother/Tried to please my father/Tried to please everyone but me”, “My friends say I need money/My friends say I need followers/But I want to believe in me”.

The half-formed songs are an example of the continuous artistic flow of Ty Segall and Fence, who manage to remain attached to their creative activity with absolute incisiveness. Joy is a modus operandi of work and attitude to admire.

The use of pitch shifting and numerous slogans such as ‘Body Behavior’ or ‘Please Do Not Leave This Town’ leave a sense of the cyclonic and joyful: as in an eternal ride on a roller coaster.

In Joy, things come together and resume the thread of Hair, their first album collaborative album together, released in 2012. After a feast of a garage rock that still embellishes your session of listening, the closure of ‘My Friend’ is quite useless for the purpose of the album, but still remains a ballad slightly dreamy, pleasant to listen to.

A daring record for an expert and ready duo, an album made with craft and lo-fi attitude, a test that we cannot disdain and that exalts a historical collaboration.

Gianluigi Marsibilio 


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