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Product Description
In The Red is happy as a pig in s**t to announce the debut release by the Ty Segall Band. The Ty Segall Band is Ty Segall (obviously), Mikal Cronin, Charlie Moonheart and Emily Rose Epstein. While Segall has released many incredible solo releases, Slaughterhouse marks the first that he recorded with his touring band. For this album (it s only ten inches, but you get two!) the band recorded with Chris Woodhouse at the Hangar, turned their amps all the way up, set their fuzz pedals on obliterate and commenced to kick ass and take names. Seriously, this record will melt your face. All of Segall s usual psych-pop sensibilities are present but Slaughterhouse adds the fullthrottle, go-for-the-throat bombast that the band delivers in the live setting. The fuzz riffs, bratty howl and Cro- Magnon bashing culminate with a feedback freakout that s clearly the only sensible way to end a workout of this magnitude
Product Description
2012 album ... this time backed by his own touring band! Terrifying garage-rock 'n' psych-fuzz annihilation from the prolific San Francisco sensation. Includes "Wave Goodbye".
Customer Reviews
Most Helpful Customer Reviews
4 of 4 people found the following review helpful
By Gannon
TOP 1000 REVIEWER
Format:Audio CD
Ty Segall is heading for a crash. He's promised three LPs this year - the manic Slaughterhouse is only number two and already it sounds like he's had his brakes cut, embraced the inevitable and begun rocking out with the Grim Reaper himself. This is no logical follow-on from the garage-popping melodies of last year's Goodbye Bread album. Exorcised too is the majority of the vintage psyche from this year's collaboration with White Fence. Fear not though for Segall's affinity for cute hooks remains in place - it's now just mutilated by a particularly virulent strain of garage-punk.
As such, for his first full-band release, Segall couldn't have found a better home than In The Red - an imprint with sufficient experience to stand well back and let his distorted onslaught fight itself rather than those around it. Far from present to just make up numbers that touring band in full comprises San Franciscan city-mate and sometimes-sound-alike Mikal Cronin, Charlie Moothart of superlative garage-surf outfit The Moonhearts, as well as go-to garage gal Emily Rose Epstein. Consequently, Slaughterhouse sounds fully demented. "Wave Goodbye", for example, comes on like the sloppiest, heaviest parts of the early White Stripes canon as tackled by Bedlam's own blues band.
Punishing with one hand and proffering irresistible delights with the other, Slaughterhouse weights its close with 10 minutes of redlining equipment and what sounds like Epstein's drum kit being periodically assaulted. Enough to put off the wary, Segall nevertheless reels those on the fence back in with bread-and-butter riffs and rough-and-ready melodies, such as those that run free in "I Bought My Eyes" and "Tell Me What's Inside Your Heart". At the other end of the spectrum there's the "extra fast" psychobilly cover of "Diddy Wah Diddy" and the screeching title track. Having beamed in from the 60s, "The Bag I'm In" is a screaming Nuggets jam that has scratches run in its every groove. "Death" is pure marauding, demo-quality fuzz in which the hooks arrive at such jostling speed from the overloaded pedals that at times they're reduced to white noise. It's breathless and it's vital too, its eviscerating solo both immensely pleasing yet painful.
Slaughterhouse may not in all its departments quite be the "evil space rock" Segall has elsewhere promised, but they'll be few complaints all the same and, who knows, on the now awaited third long-player of the year he may yet come good on his word. Watch this space.
Advised downloads: "Wave Goodbye" and "The Bag I'm In".
As such, for his first full-band release, Segall couldn't have found a better home than In The Red - an imprint with sufficient experience to stand well back and let his distorted onslaught fight itself rather than those around it. Far from present to just make up numbers that touring band in full comprises San Franciscan city-mate and sometimes-sound-alike Mikal Cronin, Charlie Moothart of superlative garage-surf outfit The Moonhearts, as well as go-to garage gal Emily Rose Epstein. Consequently, Slaughterhouse sounds fully demented. "Wave Goodbye", for example, comes on like the sloppiest, heaviest parts of the early White Stripes canon as tackled by Bedlam's own blues band.
Punishing with one hand and proffering irresistible delights with the other, Slaughterhouse weights its close with 10 minutes of redlining equipment and what sounds like Epstein's drum kit being periodically assaulted. Enough to put off the wary, Segall nevertheless reels those on the fence back in with bread-and-butter riffs and rough-and-ready melodies, such as those that run free in "I Bought My Eyes" and "Tell Me What's Inside Your Heart". At the other end of the spectrum there's the "extra fast" psychobilly cover of "Diddy Wah Diddy" and the screeching title track. Having beamed in from the 60s, "The Bag I'm In" is a screaming Nuggets jam that has scratches run in its every groove. "Death" is pure marauding, demo-quality fuzz in which the hooks arrive at such jostling speed from the overloaded pedals that at times they're reduced to white noise. It's breathless and it's vital too, its eviscerating solo both immensely pleasing yet painful.
Slaughterhouse may not in all its departments quite be the "evil space rock" Segall has elsewhere promised, but they'll be few complaints all the same and, who knows, on the now awaited third long-player of the year he may yet come good on his word. Watch this space.
Advised downloads: "Wave Goodbye" and "The Bag I'm In".
0 of 1 people found the following review helpful
By chrisdonkey
Format:Vinyl|Amazon Verified Purchase
Not sure if im reviewing the service here or the service provided. In any case both great. i need 3 more words to submit. thats done it.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
4.6 out of 5 stars
8 reviews
11 of 11 people found the following review helpful
4.0 out of 5 stars
Ty Segall & co. fuse 60's garage psych with early 70's proto-punk and proto-metal...and somehow makes it sound perfectly natural
10 July 2012
By Jack Tripper
- Published on Amazon.com
If you've ever seen Ty Segall live, you know that he and his band sometimes straddle the line between ferocious psych/punk and straight-up metal. On 'Slaughterhouse,' his first album with his touring mates, that intense live energy is captured almost perfectly, at least for 29 of it's 39 minutes.
Upon hearing the first track, "Death," my initial thought was, "Wow, someone's been listening to Hawkwind recently!" In fact, the album as a whole has that late 60's, early 70's proto-metal vibe of bands like Deep Purple, Black Sabbath, and especially the heavy prog stylings of the aforementioned Hawkwind; only with the take-no-prisoners bombast of early punk progenitors The Stooges and MC5, and the DIY psychedelia of U.S. garage bands circa 1966 thrown in the mix. The result is an album that will make you want to headbang while at the same time make you want to spark one up and drift away to state of zoned-out bliss. "Wave Goodbye" is a perfect example of this, with sludgy, skull-crushing guitars, a hypnotic repeating bass riff, and drums that sound like they're being pummeled into splinters. This doesn't sound like a recipe for "zoned-out bliss," but trust me, it is.
The sound quality, as usual when it comes to Ty Segall, is extremely lo-fi, but that doesn't make it any less heavy or tripped-out. Instead, it makes the album feel more raw and visceral, which in turn makes it more powerful. The only negative for me is that the last song, the 10-plus minute "Fuzz War," really seems like it was just tacked on to make this a full-length LP as opposed to an EP. I was hoping for an epic mindblower, and instead all I got was distortion and feedback. All "Fuzz" and no "War." Bands like Spacemen 3 and Sonic Youth had some droning feedback tracks, and they were interesting, even euphoric, but all I felt here was...well...boredom--something I thought I'd never feel when listening to a Ty Segall album. Although, considering the rest of the album made me feel worn-out and slightly insane, maybe a 10-minute comedown was necessary before taking the ride all over again.
Despite the one relatively minor complaint, 'Slaughterhouse' is still nearly a half-hour of heavy, fuzzed-out intensity, and hopefully it's just the first of many from the Ty Segall Band. Ty already has a number of near-masterpieces in his catalog, and if this album is any indication, he just may be on the verge of creating a straight-up, no qualifiers, masterpiece.
Upon hearing the first track, "Death," my initial thought was, "Wow, someone's been listening to Hawkwind recently!" In fact, the album as a whole has that late 60's, early 70's proto-metal vibe of bands like Deep Purple, Black Sabbath, and especially the heavy prog stylings of the aforementioned Hawkwind; only with the take-no-prisoners bombast of early punk progenitors The Stooges and MC5, and the DIY psychedelia of U.S. garage bands circa 1966 thrown in the mix. The result is an album that will make you want to headbang while at the same time make you want to spark one up and drift away to state of zoned-out bliss. "Wave Goodbye" is a perfect example of this, with sludgy, skull-crushing guitars, a hypnotic repeating bass riff, and drums that sound like they're being pummeled into splinters. This doesn't sound like a recipe for "zoned-out bliss," but trust me, it is.
The sound quality, as usual when it comes to Ty Segall, is extremely lo-fi, but that doesn't make it any less heavy or tripped-out. Instead, it makes the album feel more raw and visceral, which in turn makes it more powerful. The only negative for me is that the last song, the 10-plus minute "Fuzz War," really seems like it was just tacked on to make this a full-length LP as opposed to an EP. I was hoping for an epic mindblower, and instead all I got was distortion and feedback. All "Fuzz" and no "War." Bands like Spacemen 3 and Sonic Youth had some droning feedback tracks, and they were interesting, even euphoric, but all I felt here was...well...boredom--something I thought I'd never feel when listening to a Ty Segall album. Although, considering the rest of the album made me feel worn-out and slightly insane, maybe a 10-minute comedown was necessary before taking the ride all over again.
Despite the one relatively minor complaint, 'Slaughterhouse' is still nearly a half-hour of heavy, fuzzed-out intensity, and hopefully it's just the first of many from the Ty Segall Band. Ty already has a number of near-masterpieces in his catalog, and if this album is any indication, he just may be on the verge of creating a straight-up, no qualifiers, masterpiece.
4 of 4 people found the following review helpful
5.0 out of 5 stars
Mindblowing
9 July 2012
By A. Woodley
- Published on Amazon.com
Format:Audio CD|Amazon Verified Purchase
I don't always add reviews when there are already a few that express my opinion, but I can't help but dog pile onto this one. This album is awesome. If you like garage rock of any kind, than this will quickly be your favorite album. I've seen this incarnation of Ty Segall's band, and in concert and on the album, the band is loud, driving, and tight. Segall's guitar playing is superb and as with all Segall releases, the songwriting is great. With a guy that churns out albums this fast, you would think the material would start to suffer, but somehow Segall's albums just keep getting better and better. Allmusic compares Segall to a young Jack White. It's not too far fetched. The guy is a monster on the guitar. The music is a lot more fuzzed out than anything White has released, but it rocks. If you're looking for comparisons, Segall is on In the Red's record label, and he sounds similar to some label mates like The Dirtbombs or King Khan and the BBQ Show. The vinyl comes on two 10 inch LPs with a download card. If you like Ty Segall or just good rock and roll, this album is for you. I agree with the other reviewers, this album is a strong candidate for album of the year.
2 of 2 people found the following review helpful
5.0 out of 5 stars
Fuzz war for the masses.
7 Jan 2013
By G. Rao
- Published on Amazon.com
Format:Audio CD
The first time I encountered Ty Segall, he was opening for Jeremy Jay in a small rock club called The Knockout, and playing as a one man band. His music was simplistic but catchy, and really fuzzed out.
Four years later, he has evolved into a garage rock savant, and now tours with a full time band in addition to a breakneck pace of studio releases.
This album finds him trying to recreate his live band's aggressive sound, but with studio detail.
If I've noticed a theme in his lyrics, it would have to be failing/mutilated body parts. On a previous album, he sang about cutting off the tip of his finger. Here, he sings about his eyes failing him, and losing his head.
It sounds like there are a lot of two part vocal harmonies going on here, and they really help sweeten what would otherwise be a fairly harsh sound.
I agree with the reviewer who mentioned Hawkwind as a template for this album. It has that mix of primitive and cerebral that they patented. I could see this album appealing to punk rockers, psych fans, stoner-rock fans, and pop rock fans as well.
It would be greatly encouraging to me to see a new generation of garage rockers and fans rally around Ty Segall Band, instead of the usual hybridized American idol style emo pop that passes for rock and roll these days.
Four years later, he has evolved into a garage rock savant, and now tours with a full time band in addition to a breakneck pace of studio releases.
This album finds him trying to recreate his live band's aggressive sound, but with studio detail.
If I've noticed a theme in his lyrics, it would have to be failing/mutilated body parts. On a previous album, he sang about cutting off the tip of his finger. Here, he sings about his eyes failing him, and losing his head.
It sounds like there are a lot of two part vocal harmonies going on here, and they really help sweeten what would otherwise be a fairly harsh sound.
I agree with the reviewer who mentioned Hawkwind as a template for this album. It has that mix of primitive and cerebral that they patented. I could see this album appealing to punk rockers, psych fans, stoner-rock fans, and pop rock fans as well.
It would be greatly encouraging to me to see a new generation of garage rockers and fans rally around Ty Segall Band, instead of the usual hybridized American idol style emo pop that passes for rock and roll these days.
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4.6 out of 5 stars
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