Ty Segall Band - Slaughterhouse

Though he’s got quite the sample size for someone his age -– today’s release of Slaughterhouse is either his sixth or seventh solo release in four years, depending on how you count them -– Ty Segall is a little hard to predict. Take, for instance, something like 2011’s Goodbye Bread, a record that exhibited a little more focus that previous affairs and seemed to make more concessions to accessibility than usual, at least relative to his Goner Records and self-released output. It suggested that Segall was tightening his approach, maybe gunning and grooming himself for less reverb-soaked landscapes as Segall grew more confident with his voice and with his instrument. But as soon as you thought it was headed in a certain direction, Segall immediately went off and engaged something like the White Fence collab Hair which, indeed, was pretty hairy and experimental-leaning. So, maybe it’s a surprise that Ty Segall’s newest record, Slaughterhouse — recorded under the Ty Segall Band moniker alongside constant collaborator Mikal Cronin — is a step into heavier, more hellish rock textures. Slaughterhouse is a confident attempt at making the “evil, evil space rock” Segall has repeatedly cited as his ideal sound, and it’s his also his best record yet.

That heaviness is imparted immediately with “Death,” an opener that loiters in a squelching cloud of reverb before opening up into a roaring, destructive rip. “I Bought My Eyes,” one Slaughterhouse’s earliest singles, doesn’t pull out of that lane, but notably incorporates the Beatles-y hooks that Segall has made his bread and butter (most certainly his Bread). The record is paced evenly between four-minute, song-structure-observant stomps like “Tell Me What’s Inside Your Heart” and “Wave Goodbye” and desperate, one-and-a-half minute storm surges like the title track “Slaughterhouse,” “Muscle Man” and “Mary Ann.” Naturally, the album is capped by the appropriately titled ten-minute workout “Fuzz War,” a deep, bellowing wellspring of guitar noise that climbs dramatically and mysteriously, all with the notion that Segall deliberately meant to leave us at this noisy impasse. While Slaughterhouse surveys the garage styles Segall has sharpened to the brink of perfection, Slaughterhouse’s many shapes never sacrifice cohesiveness as a whole.

There’s something captivating about the sonic mood of Slaughterhouse. While it’s certainly a record brimming with confidence and prowess, that’s not to be mistaken for brightness. There’s a gravity that underlies Slaughterhouse in a way I haven’t heard from Segall before, something that suggests a dark, vicious depth. Slaughterhouse could easily serve as a fitting introduction to Ty Segall, but on the other hand, maybe it’s a good wrapping-up, point, too, a worthy summary of all that has transpired in the career of the young, precocious San Franciscan. It’s a weighty thing; I felt like there was something on my chest while I was listening to it. And, unlike other Segall tracks which I’ve enjoyed only to forget later, Slaughterhouse might sit there a while.

Slaughterhouse is out today on In The Red.

Other albums of note out this week:

  • R. Kelly’s retro-leaning Write Me Back
  • DIIV’s soaring Oshin (stream here)
  • A Place To Bury Strangers’ fuzz-rock opus Worship
Comments (21)
  1. The album cover is my exact face when listening to this album

  2. Super excited to hear this but holding out listening until I can hear the vinyl version.

    I feel Joe Howse would support this decision.

  3. An “Album of the Week” that’s ACTUALLY album of the week, whad’dya know?

    • That sounded like a lot of haterade, apologies. Just stating that of recent the AOTW has been a lesser known album that S’gum wants to shed light on rather than re-praise a more talked about album (Fiona Apple, etc.), which I have no qualm with. With DIIV and this debuting, it’s shaping up to be a strong week of albums, so everyone really wins. Also R Kelly stepped out the closet to record something, and that’s never a bad thing.

      • I like the fact that Stereogum’s AOTW isn’t always that PREDICTABLE. The fact that have recently awarded it to Sun Kil Moon, Usher and Neneh Cherry & The Thing instead of Hot Chip/Bobby Womack or Fiona Apple (whose albums I all love) shows that the staff don’t give a sh** about what’s super hip or cool or what a great majority of critics would praise anyway. Thus it gets more exciting!

  4. This week is a tough decision, because on one hand, you have DIIV’s debut which we’ve been building toward with anticipation and kind of growing up with over the past several months (name changes, style changes, etc.) On the other, you have Ty, who is awesome, but he’s like a modern day Thurston Moore with the rate at which he records something worth listening to and it’s all relative to one another. Yet, this one is kind of more bad ass than his other work so you don’t want to look over it. It really could go either way, in different ways. I wish there was some way to co-award this week’s AOTW.

    • You’re right, I feel like Ty Segall’s prolific-ness almost works against him. There’s not enough time for me to digest his output, slowly forget about him and then get really excited when I hear he’s coming out with his first new album in three years (like Grizzly Bear, for instance). He just needs to space out his awesomeness, is what I’m trying to say.

      • Disagree! Ty Segall makes very good albums with very little time between them. That is exciting to me as a music fan. Not every band should make its audience wait, especially if it’s not necessarily.

    • This album is extraordinarily good, and although I think DIIV’s album is great, I think Ty needs to be rewarded for his growth as a musician.

      I was pretty sad that more attention was not paid towards The Henry Clay People’s new album, which is just amazing (I like it better than Celebration Rock -heresy? maybe). All in all, I could not agree iwth you that Ty’s prolific nature an growth definitely won him AOTW this week.

  5. Also worth pointing out that the Flaming Lips/Heady Fwends deal got a CD/digital release today. I’ll be spacing out to that as well as Ty Segall and DIIV today.

  6. fuck my face this album is good.

  7. I don’t think there’s any comparison between the DIIV and Ty Segall records. What’s distinctive or exciting about DIIV? It’s pleasant, well-crafted indie rock. This Ty Segall record is amazing.

    • I feel like the DIIV record is distinctive. Even though it’s *very* similar to everything else on Captured Tracks (Wild Nothing, Craft Spells, etc.) it brews it’s own blend of the 80s-nostalgia/shoegaze/surf trendiness. “Doused” is probably the best example of this. The dynamics and energy of tha…

      I was going to finish that thought, but then “I Bought My Eyes” came on. Ty Segall, you’re really doin’ it for me in this 100 degree weather.

  8. an album that makes u take one of the headphones off your ear for a second, in a very good way

    absolutely fantastic, “tell me whats inside your heart” is on some seriously demented Beatles level shit

  9. Ty can really do no wrong in my book. This album is heavy, dark, and brilliant. Keep it coming!

  10. hey how about Old Man Gloom’s NO as the next AOTW?

  11. Nothing like some blistering psychedelic garage rock for the summer..gonna be blaring this one for a while

  12. Goodbye Bread is still my favorite. I love this because I love everything Ty but i prefer the glam influenced stuff.

  13. Ty is good

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