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Another touchstone might be Donovan – “Blue” seems to channel his whimsical delivery and a taste for surreal lyrical flights of fancy. Bolan’s influence – specifically the psychedelically inclined folk of his early Tyrannosaurus Rex incarnation – is writ all over Hello, Hi. His catalogue features a rich seam of songs that channel Marc Bolan – think Manipulator’s “Don’t You Want To Know (Sue)”, or Sleeper’s “Sweet CC”.
Hello, Hi brings a couple of Ty’s prime influences to the fore. Written and recorded at Ty’s own home studio, Harmonizer, in 2020, it clocks in at a relatively lean 10 songs and 34 minutes, making it of a piece with albums like Goodbye Bread and Sleeper: song-focused affairs that advance a consistent sound and style, as opposed to the pinball eclecticism of Freedom’s Goblin or Manipulator. Think a freaky flower child, or perhaps a mischievous forest spirit, spinning out riddles in exchange for safe passage. A black and white photo taken by Ty’s wife Denée on a hiking trail near their Topanga Canyon home, it pictures him balanced impishly on a tree branch, holding his guitar out in front of him like a talisman. Ty’s album covers always do a good job of obliquely communicating their contents, and this is no exception.
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Where Harmonizer felt like the work of a full live band, Hello, Hi bears the mark of a record made alone in isolation, or something close to it. Where that album was electric, synthetic and raw, Hello, Hi is largely acoustic, rustic-sounding and steeped in a sort of fey, offbeat prettiness. It does, broadly, what Harmonizer did not. Seasoned Ty watchers will know that he tends to follow a zig with a zag, and so it is with Hello, Hi.
ORDER NOW: Wilco are on the cover of the latest issue of Uncut. The second expanded Ty’s brief yet further – a film score for director Matt Yoka’s Whirlybird, a documentary following the Los Angeles News Service, whose roving helicopter tracked wrongdoings across LA’s urban sprawl throughout the 1980s and ’90s. The first was Harmonizer, a ripping rock album that dropped without warning or fanfare in August 2021. Just for context, Segall’s 2021 saw not one but two new collections of music. “W.U.O.T.W.S.” is a cut-and-paste song that resembles a static-filled trip up and down the radio dial, while the slithering, funk-inspired “Squealer Two” is both celebratory and oily, a raconteur’s tale with a perverse wink.Barely has the dust settled on his last escapade, and Ty Segall, Californian dreamer and one of the most prolific creators in all of rock’n’roll, sidles by once more. The zoned-out “California Hills” recalls a sludgy Alice Cooper Group tune with just a touch more glitter “Diversion” begins with a roaring wall of fuzz and culminates with a gnarly guitar solo and on the corrugated highlight “Breakfast Eggs,” Segall growls, “Candy I want / Want your candy.” The stormy proto-punk snarl “Candy Sam” - which ends with what sounds like a sample of a gleeful, singing kindergarten class - is the flipside: The sweets are gone, which means the fun’s also gone. Sonically, Emotional Mugger lands somewhere between all of these records, maintaining the cohesion and (relatively) streamlined arrangements of Manipulator but nodding to the scuzzy ’70s hard rock of the latter two and Segall’s trademark haywire, lo-fi garage. The guitarist’s last proper solo LP, Manipulator, was a relatively straightforward amalgamation of frayed grime-glam and psych-garage, while last year brought his band Fuzz’s stoneriffic sophomore LP, II, and the T. It’s always a surprise which version of Ty Segall is going to show up on a given album, and what kind of narrative he’s going to push forth. In at least one case, this audio was paired with the visuals from the Michael Keaton/Nicole Kidman weeper My Life. I am itching to hear how I can fill the holes in your ego.” In addition, he and label Drag City sent out promo copies of the album recorded onto a VHS tape. #TY SEGALL TOUR REVIEW MOVIE#
He set up a number you could call (1-80, knock yourself out) containing an unsettling, heavy-breathing message straight out of a B-grade horror movie which began: “You’ve reached the emotional mugger hotline. True to his not-modern music, Ty Segall promoted his latest solo album, Emotional Mugger, with several old-fashioned industry techniques.
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