August 20 street date. Between two minds, between two places, beyond Twins, Sleeper envisions a world of haves and have-nots, but the currency that separates them is psychic. Class is determined by where your head goes - and Ty puffs the pied pipe, leading you back to what you forgot you knew. Sleeper is Ty-fi, for sure, but it’s not that different from this world we live in. It’s a hard-knock existenz, but there’s plenty tenderness to try, and the trip is crafted especially to fit in your ears and sail down the canals deep into your skull. The acoustics expand upon contact, creating new shapes for you to fill inside yourself over the full-length of a true album-length entertainment. With Sleeper, Ty Segall explores your mind, coming through his own head to slip inside with thought sharing. Ty engineered this one from beginning to end, and his ultimate sonics were accessed with a freaky hand and an instinct for what makes something perfect. Sleeper flows more colors than ever before through your mind’s eye, pushing the walls of the universe out just a micron further, making everything heavier and lighter all at once, to allow for one moment that will live forever.
August 20 street date. Between two minds, between two places, beyond Twins, Sleeper envisions a world of haves and have-nots, but the currency that separates them is psychic. Class is determined by where your head goes - and Ty puffs the pied pipe, leading you back to what you forgot you knew. Sleeper is Ty-fi, for sure, but it’s not that different from this world we live in. It’s a hard-knock existenz, but there’s plenty tenderness to try, and the trip is crafted especially to fit in your ears and sail down the canals deep into your skull. The acoustics expand upon contact, creating new shapes for you to fill inside yourself over the full-length of a true album-length entertainment. With Sleeper, Ty Segall explores your mind, coming through his own head to slip inside with thought sharing. Ty engineered this one from beginning to end, and his ultimate sonics were accessed with a freaky hand and an instinct for what makes something perfect. Sleeper flows more colors than ever before through your mind’s eye, pushing the walls of the universe out just a micron further, making everything heavier and lighter all at once, to allow for one moment that will live forever.
August 20 street date. Between two minds, between two places, beyond Twins, Sleeper envisions a world of haves and have-nots, but the currency that separates them is psychic. Class is determined by where your head goes - and Ty puffs the pied pipe, leading you back to what you forgot you knew. Sleeper is Ty-fi, for sure, but it’s not that different from this world we live in. It’s a hard-knock existenz, but there’s plenty tenderness to try, and the trip is crafted especially to fit in your ears and sail down the canals deep into your skull. The acoustics expand upon contact, creating new shapes for you to fill inside yourself over the full-length of a true album-length entertainment. With Sleeper, Ty Segall explores your mind, coming through his own head to slip inside with thought sharing. Ty engineered this one from beginning to end, and his ultimate sonics were accessed with a freaky hand and an instinct for what makes something perfect. Sleeper flows more colors than ever before through your mind’s eye, pushing the walls of the universe out just a micron further, making everything heavier and lighter all at once, to allow for one moment that will live forever.
Available now. TY SEGALL strikes back! His first new record since SLEEPER is a 7-inch single that comes busting out the gate with a whiplash tempo, with headbanging licks building up out of a hard-strummed acoustic riff. With lots of room for solos and cosmic lyrics like "feed the freaks in the skies, let them live in each other’s eyes," 'FEEL' is a fist-pumping roller-coaster ride through the fun house that will leave you grinning with rad-itude. 'THE FAKIR' dims the lights for an acoustic recital, but TY continues to point his lyrical high beams inward, illuminating the inner soul of a generation. If these two are a taste of what’s next, THEN FUCK YEAH!
August 26 street date. THE SEGALL HAS LANDED. And it’s fully loaded, with everything that TY SEGALL (and you and me) are gonna need in the world to come. Heads up! It’s coming down fast. Sticking his hand deeper into the machines all around him, TY is reaching ever further to the outer limits of inner space orbited throughout TWINS and SLEEPER. And now more than ever, the chunks of the world that came before are like asteroids formed in his image . . . picking up speed . . . .Still fighting the power with all the energy that a determined mind-patriot can conjure, Ty’s a fighter who loves, a surfer, a spaceman, and yeah, a casualty - like you, he’ll never be free. But unlike you, he knows it - and when he goes down and his head cracks in two, out pour the multi-colored manias that make up MANIPULATOR. Soursweet declarations featuring freaks and creeps alike: 'The Singer', 'The Faker', 'Mister Main', 'Susie Thumb', the 'Connection Man', and 'The Crawler', to name but a mutant fistful. Three-quarter quartets raising their din in a few key places. Waves of sparkling acoustics with ominous, Love-ly undertones - and then, torrents of filthy git-grunge, exploding into the chorus, washing everything away, fusing the blackness of SABBATH with the grime and grab-ass of the STOOGES and the sweet swinging tones of the STONES. All in the name of getting higher on the music. Why have one guitar solo when you can have a few in the same space? There’s so little time, and a LOT to say. In order to ensure that he got it all out, TY called a few friends to fill in special parts on certain MANIPULATOR songs. He got great touches from CHRIS WOODHOUSE (piano, synth & percussion), SEAN PAUL PRESLEY (vocals), BRIT LAUREN MANOR (vocals), STEVE NUTTING (drums), IRENE SALZER (violin), JESSICA IVRY (cello), MATTHIAS MCENTIRE (viola) and the TY SEGALL band (MIKAL CRONIN, CHARLES MOOTHEART, EMILY ROSE EPSTEIN). Plus, MIKAL arranged the strings - and everyone played awesomely. The clarion call / siren song of his guitar . . . . clouds of guitar billowing, blood rushing to the head, the temperature going from blue to red . . . . TY’s on a mission, working to change chemistry through music with the steam-lined pop and helium-cooled vocals of MANIPULATOR.
August 26 street date. THE SEGALL HAS LANDED. And it’s fully loaded, with everything that TY SEGALL (and you and me) are gonna need in the world to come. Heads up! It’s coming down fast. Sticking his hand deeper into the machines all around him, TY is reaching ever further to the outer limits of inner space orbited throughout TWINS and SLEEPER. And now more than ever, the chunks of the world that came before are like asteroids formed in his image . . . picking up speed . . . .Still fighting the power with all the energy that a determined mind-patriot can conjure, Ty’s a fighter who loves, a surfer, a spaceman, and yeah, a casualty - like you, he’ll never be free. But unlike you, he knows it - and when he goes down and his head cracks in two, out pour the multi-colored manias that make up MANIPULATOR. Soursweet declarations featuring freaks and creeps alike: 'The Singer', 'The Faker', 'Mister Main', 'Susie Thumb', the 'Connection Man', and 'The Crawler', to name but a mutant fistful. Three-quarter quartets raising their din in a few key places. Waves of sparkling acoustics with ominous, Love-ly undertones - and then, torrents of filthy git-grunge, exploding into the chorus, washing everything away, fusing the blackness of SABBATH with the grime and grab-ass of the STOOGES and the sweet swinging tones of the STONES. All in the name of getting higher on the music. Why have one guitar solo when you can have a few in the same space? There’s so little time, and a LOT to say. In order to ensure that he got it all out, TY called a few friends to fill in special parts on certain MANIPULATOR songs. He got great touches from CHRIS WOODHOUSE (piano, synth & percussion), SEAN PAUL PRESLEY (vocals), BRIT LAUREN MANOR (vocals), STEVE NUTTING (drums), IRENE SALZER (violin), JESSICA IVRY (cello), MATTHIAS MCENTIRE (viola) and the TY SEGALL band (MIKAL CRONIN, CHARLES MOOTHEART, EMILY ROSE EPSTEIN). Plus, MIKAL arranged the strings - and everyone played awesomely. The clarion call / siren song of his guitar . . . . clouds of guitar billowing, blood rushing to the head, the temperature going from blue to red . . . . TY’s on a mission, working to change chemistry through music with the steam-lined pop and helium-cooled vocals of MANIPULATOR.
August 26 street date. THE SEGALL HAS LANDED. And it’s fully loaded, with everything that TY SEGALL (and you and me) are gonna need in the world to come. Heads up! It’s coming down fast. Sticking his hand deeper into the machines all around him, TY is reaching ever further to the outer limits of inner space orbited throughout TWINS and SLEEPER. And now more than ever, the chunks of the world that came before are like asteroids formed in his image . . . picking up speed . . . .Still fighting the power with all the energy that a determined mind-patriot can conjure, Ty’s a fighter who loves, a surfer, a spaceman, and yeah, a casualty - like you, he’ll never be free. But unlike you, he knows it - and when he goes down and his head cracks in two, out pour the multi-colored manias that make up MANIPULATOR. Soursweet declarations featuring freaks and creeps alike: 'The Singer', 'The Faker', 'Mister Main', 'Susie Thumb', the 'Connection Man', and 'The Crawler', to name but a mutant fistful. Three-quarter quartets raising their din in a few key places. Waves of sparkling acoustics with ominous, Love-ly undertones - and then, torrents of filthy git-grunge, exploding into the chorus, washing everything away, fusing the blackness of SABBATH with the grime and grab-ass of the STOOGES and the sweet swinging tones of the STONES. All in the name of getting higher on the music. Why have one guitar solo when you can have a few in the same space? There’s so little time, and a LOT to say. In order to ensure that he got it all out, TY called a few friends to fill in special parts on certain MANIPULATOR songs. He got great touches from CHRIS WOODHOUSE (piano, synth & percussion), SEAN PAUL PRESLEY (vocals), BRIT LAUREN MANOR (vocals), STEVE NUTTING (drums), IRENE SALZER (violin), JESSICA IVRY (cello), MATTHIAS MCENTIRE (viola) and the TY SEGALL band (MIKAL CRONIN, CHARLES MOOTHEART, EMILY ROSE EPSTEIN). Plus, MIKAL arranged the strings - and everyone played awesomely. The clarion call / siren song of his guitar . . . . clouds of guitar billowing, blood rushing to the head, the temperature going from blue to red . . . . TY’s on a mission, working to change chemistry through music with the steam-lined pop and helium-cooled vocals of MANIPULATOR.
November 18 street date. You thought Manipulator was the money album of the year? Think . . . AGAIN! 2014 ain’t done yet, and Singles 2 is here. And this time, it’s for the money. Two times! As all of the ears that have heard what Ty’s been putting out for the past five-ish years already know in their tiny l’il ear-brains, our kid’s got any number of places that he’s coming from, and putting them all into his rock and roll music is what he’s all about! Which is cool. Singles 2 sweeps out the ashes of the breakneck days (and nights!!!!) of 2011-2013, and burns down the house all over again in the process - but not by accident. Sorry . . . .Singles 2 slinks low and flat-out sprints behind the scenes of the Goodbye Bread - Twins - Sleeper trilogy (no it isn’t!), collecting all the now-out-of-print sides that totally work amazingly well together when placed back-to-back-to-back as an album. The super-deadly 'Spiders' single is spun again here in full, along with the epically pop b-sides for 'I Can’t Feel It', 'The Hill', and 'Would You Be My Love'. Plus there are tracks for other righteous labels too (yes, Virginia . . . ) like Permanent, Castleface and Famous Class. Covering The Groundhogs, the Velvets and GG Allin, Ty reps for a good array of punk godheads too. Between the covers and the originals, Singles 2 is also a run through the SF 388 scene circa 2010-2013, with various local heroes like King Riff, Mike Donovan and Ty himself at the board. Sure, there’s the knotting up of all the loose ends for the heavy-breathin’, AADin’ freak-fans - but Singles 2 is really about the rush of getting a single for the a-side and then finding a total sunshine jewel like 'Children of Paul' or 'Mother Lemonade' on the flip. Or a stone-solid jam on a classic, like the COMPLETE retooling of 'Femme Fatale'. Or hearing the Mackay-style sax bleatings of 'Fucked Up Motherfucker', and it fucking YOU up too! Closing the album with the seemingly unlikely ('Music for a Film', for REAL) and the seemingly inevitable ('Pettin the Dog', a mighty hardcore slamming of the lid) cleanses the palate for . . . what? Another spin, probably! Singles 2 has been designed to withstand obsessive flipping. Well, that it’s it for this one - until Singles 3-D, my friend . . . .
November 18 street date. You thought Manipulator was the money album of the year? Think . . . AGAIN! 2014 ain’t done yet, and Singles 2 is here. And this time, it’s for the money. Two times! As all of the ears that have heard what Ty’s been putting out for the past five-ish years already know in their tiny l’il ear-brains, our kid’s got any number of places that he’s coming from, and putting them all into his rock and roll music is what he’s all about! Which is cool. Singles 2 sweeps out the ashes of the breakneck days (and nights!!!!) of 2011-2013, and burns down the house all over again in the process - but not by accident. Sorry . . . .Singles 2 slinks low and flat-out sprints behind the scenes of the Goodbye Bread - Twins - Sleeper trilogy (no it isn’t!), collecting all the now-out-of-print sides that totally work amazingly well together when placed back-to-back-to-back as an album. The super-deadly 'Spiders' single is spun again here in full, along with the epically pop b-sides for 'I Can’t Feel It', 'The Hill', and 'Would You Be My Love'. Plus there are tracks for other righteous labels too (yes, Virginia . . . ) like Permanent, Castleface and Famous Class. Covering The Groundhogs, the Velvets and GG Allin, Ty reps for a good array of punk godheads too. Between the covers and the originals, Singles 2 is also a run through the SF 388 scene circa 2010-2013, with various local heroes like King Riff, Mike Donovan and Ty himself at the board. Sure, there’s the knotting up of all the loose ends for the heavy-breathin’, AADin’ freak-fans - but Singles 2 is really about the rush of getting a single for the a-side and then finding a total sunshine jewel like 'Children of Paul' or 'Mother Lemonade' on the flip. Or a stone-solid jam on a classic, like the COMPLETE retooling of 'Femme Fatale'. Or hearing the Mackay-style sax bleatings of 'Fucked Up Motherfucker', and it fucking YOU up too! Closing the album with the seemingly unlikely ('Music for a Film', for REAL) and the seemingly inevitable ('Pettin the Dog', a mighty hardcore slamming of the lid) cleanses the palate for . . . what? Another spin, probably! Singles 2 has been designed to withstand obsessive flipping. Well, that it’s it for this one - until Singles 3-D, my friend . . . .
November 18 street date. You thought Manipulator was the money album of the year? Think . . . AGAIN! 2014 ain’t done yet, and Singles 2 is here. And this time, it’s for the money. Two times! As all of the ears that have heard what Ty’s been putting out for the past five-ish years already know in their tiny l’il ear-brains, our kid’s got any number of places that he’s coming from, and putting them all into his rock and roll music is what he’s all about! Which is cool. Singles 2 sweeps out the ashes of the breakneck days (and nights!!!!) of 2011-2013, and burns down the house all over again in the process - but not by accident. Sorry . . . .Singles 2 slinks low and flat-out sprints behind the scenes of the Goodbye Bread - Twins - Sleeper trilogy (no it isn’t!), collecting all the now-out-of-print sides that totally work amazingly well together when placed back-to-back-to-back as an album. The super-deadly 'Spiders' single is spun again here in full, along with the epically pop b-sides for 'I Can’t Feel It', 'The Hill', and 'Would You Be My Love'. Plus there are tracks for other righteous labels too (yes, Virginia . . . ) like Permanent, Castleface and Famous Class. Covering The Groundhogs, the Velvets and GG Allin, Ty reps for a good array of punk godheads too. Between the covers and the originals, Singles 2 is also a run through the SF 388 scene circa 2010-2013, with various local heroes like King Riff, Mike Donovan and Ty himself at the board. Sure, there’s the knotting up of all the loose ends for the heavy-breathin’, AADin’ freak-fans - but Singles 2 is really about the rush of getting a single for the a-side and then finding a total sunshine jewel like 'Children of Paul' or 'Mother Lemonade' on the flip. Or a stone-solid jam on a classic, like the COMPLETE retooling of 'Femme Fatale'. Or hearing the Mackay-style sax bleatings of 'Fucked Up Motherfucker', and it fucking YOU up too! Closing the album with the seemingly unlikely ('Music for a Film', for REAL) and the seemingly inevitable ('Pettin the Dog', a mighty hardcore slamming of the lid) cleanses the palate for . . . what? Another spin, probably! Singles 2 has been designed to withstand obsessive flipping. Well, that it’s it for this one - until Singles 3-D, my friend . . . .
February 3 street date. By now you should know what you’re in for here: an eardrum-toasting take to tape of the mighty Ty Segall Band, captured during two nights in San Francisco at the barely-pushing-medium-sized venue The Rickshaw Stop. Rowdy crowd, meet stacks of amplifiers - Ty, Charlie, Mikal and Emily came to singe your ears off. There have been live recordings of Ty before, of course, but never so crisply and fully realized as this scorching platter of fuzz. As always, the cover artwork showcases beautiful black and white photos shot to film at the venue by Castle Face’s favorite lensman Brian Pritchard. As always, the tape takes are tweaked and saturated to perfection by their incredible crack team of engineers and knobgoblins. Live in San Francisco features jams from throughout Mr. Segall’s torrential output of the past few years, including a take of the first single 'Feel' off his great new record Manipulator. It’s the next best thing to getting in to the show, which is getting harder and harder with Ty these days. . .
February 3 street date. By now you should know what you’re in for here: an eardrum-toasting take to tape of the mighty Ty Segall Band, captured during two nights in San Francisco at the barely-pushing-medium-sized venue The Rickshaw Stop. Rowdy crowd, meet stacks of amplifiers - Ty, Charlie, Mikal and Emily came to singe your ears off. There have been live recordings of Ty before, of course, but never so crisply and fully realized as this scorching platter of fuzz. As always, the cover artwork showcases beautiful black and white photos shot to film at the venue by Castle Face’s favorite lensman Brian Pritchard. As always, the tape takes are tweaked and saturated to perfection by their incredible crack team of engineers and knobgoblins. Live in San Francisco features jams from throughout Mr. Segall’s torrential output of the past few years, including a take of the first single 'Feel' off his great new record Manipulator. It’s the next best thing to getting in to the show, which is getting harder and harder with Ty these days. . .
February 3 street date. Famous Class is proud to announce the brand new TY SEGALL: Mr. Face EP!!! Not only is this gatefold double 7" EP packed with 4 killer jams 'Mr. Face', 'Circles', 'Drug Mugger', 'The Picture' it doubles as a playable pair of 3D glasses! Pressed on translucent red + blue colored vinyl, you just look through the records to activate the supercharged 3D artwork. Get weird with us.
NOVEMBER 27 STREET DATE. (LP version includes download) The Ty Rex corner of Ty Segall’s oeuvre represents the nom-de-rock behind which the artist puts his spin on favored Tyrannosaurus Rex and T. Rex compositions. With previous releases now dwelling in out-of-print nether-regions, the album compiles the six-song Ty Rex EP (a.k.a. Ty Rex I, originally released by Goner as a limited edition 12-inch for Record Store Day 2011) and the two-song Ty Rex II 7-inch (RSD 2013). As if this wasn’t enough of a corrective gesture, Ty Rex is expanded to include a previously-unreleased cover as a bonus—but first… For those who missed out on this nook of Segall’s rapidly-growing footprint across the rock landscape, here is a cursory rundown: The compilation showcases a nice balance between T. Rex’s ’67-70 psych-folk incarnation under the name Tyrannosaurus Rex and the better-known pioneering and perfecting of glam-rock that defined the initial ’71-73 era under the shortened T. Rex moniker. Kicking things off is the thick, woozily rocking interpretation of “Fist Heart Mighty Dawn Dart,” one of two covers pulled from Tyrannosaurus Rex’s fourth and best album, 1970’s A Beard of Stars. Segall then double-dips into the consummate T. Rex (and for that matter, the entire glam-rock movement) achievement, The Slider, with a rendition of “Buick MacKane” followed by an excellent dirtying-up of the title track. Clearly executed with the ear and understanding of a super-fan, next up is Segall’s awesome tackling of “Woodland Rock” an Electric Warrior outtake that also surfaced on the B-side to 1971’s non-album “Hot Love” single. Returning to Tyrannosaurus Rex fare for the two tracks that originally concluded the Ty Rex I EP, “Salamanda Palaganda” originates from 1968’s Prophets, Seers & Sages: The Angels of the Ages and “Elemental Child” from A Beard of Stars. “Cat Black” (from Tyrannosaurus Rex’s 1969 album, Unicorn) and Electric Warrior’s closing song “The Motivator” follow, before wrapping up this compilation of Ty-Rex material is the aforementioned previously unreleased bonus track, Segall’s cover of “20th Century Boy” (a non-album T. Rex single from 1973).
NOVEMBER 27 STREET DATE. (LP version includes download) The Ty Rex corner of Ty Segall’s oeuvre represents the nom-de-rock behind which the artist puts his spin on favored Tyrannosaurus Rex and T. Rex compositions. With previous releases now dwelling in out-of-print nether-regions, the album compiles the six-song Ty Rex EP (a.k.a. Ty Rex I, originally released by Goner as a limited edition 12-inch for Record Store Day 2011) and the two-song Ty Rex II 7-inch (RSD 2013). As if this wasn’t enough of a corrective gesture, Ty Rex is expanded to include a previously-unreleased cover as a bonus—but first… For those who missed out on this nook of Segall’s rapidly-growing footprint across the rock landscape, here is a cursory rundown: The compilation showcases a nice balance between T. Rex’s ’67-70 psych-folk incarnation under the name Tyrannosaurus Rex and the better-known pioneering and perfecting of glam-rock that defined the initial ’71-73 era under the shortened T. Rex moniker. Kicking things off is the thick, woozily rocking interpretation of “Fist Heart Mighty Dawn Dart,” one of two covers pulled from Tyrannosaurus Rex’s fourth and best album, 1970’s A Beard of Stars. Segall then double-dips into the consummate T. Rex (and for that matter, the entire glam-rock movement) achievement, The Slider, with a rendition of “Buick MacKane” followed by an excellent dirtying-up of the title track. Clearly executed with the ear and understanding of a super-fan, next up is Segall’s awesome tackling of “Woodland Rock” an Electric Warrior outtake that also surfaced on the B-side to 1971’s non-album “Hot Love” single. Returning to Tyrannosaurus Rex fare for the two tracks that originally concluded the Ty Rex I EP, “Salamanda Palaganda” originates from 1968’s Prophets, Seers & Sages: The Angels of the Ages and “Elemental Child” from A Beard of Stars. “Cat Black” (from Tyrannosaurus Rex’s 1969 album, Unicorn) and Electric Warrior’s closing song “The Motivator” follow, before wrapping up this compilation of Ty-Rex material is the aforementioned previously unreleased bonus track, Segall’s cover of “20th Century Boy” (a non-album T. Rex single from 1973).
January 22 street date. 2016 kicks off with a brand new album from Ty ! Looks like it's gonna be his biggest since "Manipulator" - Here's what Drag City had to say for themselves; "(what are they thinking) guitars sliced with scribble graffiti sprawled across the hemispheres; stuttered, stunted, dual-mono machine dreams flashing sudden stereophobic and back again / two screens alone together squeezing shaking oozing metallic pool like brain blood, slowly draining away all mental life. shaking ass / nihility at most corrodes - candy’s gone no more fun".
January 22 street date. 2016 kicks off with a brand new album from Ty ! Looks like it's gonna be his biggest since "Manipulator" - Here's what Drag City had to say for themselves; "(what are they thinking) guitars sliced with scribble graffiti sprawled across the hemispheres; stuttered, stunted, dual-mono machine dreams flashing sudden stereophobic and back again / two screens alone together squeezing shaking oozing metallic pool like brain blood, slowly draining away all mental life. shaking ass / nihility at most corrodes - candy’s gone no more fun".
January 22 street date. 2016 kicks off with a brand new album from Ty ! Looks like it's gonna be his biggest since Manipulator- Here's what Drag City had to say for themselves; "(what are they thinking) guitars sliced with scribble graffiti sprawled across the hemispheres; stuttered, stunted, dual-mono machine dreams flashing sudden stereophobic and back again / two screens alone together squeezing shaking oozing metallic pool like brain blood, slowly draining away all mental life. shaking ass / nihility at most corrodes - candy’s gone no more fun "
January 27 street date. The new self-titled record — the next record after Emotional Mugger, Manipulator, Sleeper, Twins, Goodbye Bread, Melted, Lemons, and the first self-titled album that started it up in the now-distant year of 2008 — is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end. It’s got some of the most lobe-blasting neckwork since the Ty Segall Band’s Slaughterhouse (from way back in the long, hot summer of 2012), but it also features a steep flight of fluent acoustic settings, as Ty’s new songs range around in their search for freedom without exorcism, flying the dark colors high up the pole in an act of simple self-reclamation. All he wants is some truth!
January 27 street date. The new self-titled record — the next record after Emotional Mugger, Manipulator, Sleeper, Twins, Goodbye Bread, Melted, Lemons, and the first self-titled album that started it up in the now-distant year of 2008 — is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end. It’s got some of the most lobe-blasting neckwork since the Ty Segall Band’s Slaughterhouse (from way back in the long, hot summer of 2012), but it also features a steep flight of fluent acoustic settings, as Ty’s new songs range around in their search for freedom without exorcism, flying the dark colors high up the pole in an act of simple self-reclamation. All he wants is some truth!
January 27 street date. The new self-titled record — the next record after Emotional Mugger, Manipulator, Sleeper, Twins, Goodbye Bread, Melted, Lemons, and the first self-titled album that started it up in the now-distant year of 2008 — is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end. It’s got some of the most lobe-blasting neckwork since the Ty Segall Band’s Slaughterhouse (from way back in the long, hot summer of 2012), but it also features a steep flight of fluent acoustic settings, as Ty’s new songs range around in their search for freedom without exorcism, flying the dark colors high up the pole in an act of simple self-reclamation. All he wants is some truth!
August 25 street date. In order to survive this long hot season of discontent, you gotta have something new to turn up and tune into! It’s vital to chew down on stuff that’s not just all negativity, you know? If you wanna stay positive, throw Ty Segall’s “Fried Shallots” into your brain pan and flame on for a quick snack. “Fried Shallots” is a handful of numbers from different times and places over the past few years that all work together in a weird way. That’s something that we should all be striving for: all working together in a weird way. For Ty, that requires rock with the gears shifting and stripping, tempos and tropes mashing up; a primal outburst, a quick-and-fuzzy soundtrack of rock, folk, r’n’b and pure power pop, to give us a chance to chill and do the new century twist for just a minute. That’s good, for in twist we trust! “Fried Shallots” isn’t simply just good fun. The profits from this release will be donated to the American Civil Liberties Union, whose defense of our rights is badly needed now — especially in the face of the government pigs who don’t care about the constitution and are determined to thin our herd so that they and their corporate sugar-daddys can grow ever fatter off the deprivations of the common man-clan! Don’t you let ‘em do it! Organizations like the ACLU help secure freedoms that allow individuals to stay individual in the face of the choking tides of oppression. Ty Segall’s “Fried Shallots” is here to help us surf those tides and not be swept under. “All proceeds from the sales of this record will be donated to the American Civil Liberties Union.”
October 20 street date. A reissue of the 2012 debut release by the Ty Segall Band on In The Red, featuring a bonus song not on the original release! 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 time he recorded with his touring band. For this mini-album (originally released as a double 10-inch, but now expanded to a double 12-inch) 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 full-throttle, 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 in shit to announce the debut release by the Ty Segall Band.
January 26 street date. "Freedom's Goblin" is the new TY SEGALL album: 19 tracks strong, filling four sides of vinyl nonstop, with an unrestricted sense of coming together to make an album. It wants you to get your head straight - but first, the process will make your head spin! Back in the "Twins" days, we talked about the schizophrenia of Ty's outlook; today, it's super-dual, with loads of realities all folding back on each other. On any given side, we're tracking five or six full-blown personalities, unconcerned with convention or continuity. "Freedom's Goblin" is thick with deep songwriting resources, be it stomper, weeper, ballad, screamer, banger or funker-upper, all diverted into new TYdentities - each one marking a different impasse, like a flag whirling into a knot, exploding and burning on contact, in the name of love and loathing.
January 26 street date. "Freedom's Goblin" is the new TY SEGALL album: 19 tracks strong, filling four sides of vinyl nonstop, with an unrestricted sense of coming together to make an album. It wants you to get your head straight - but first, the process will make your head spin! Back in the "Twins" days, we talked about the schizophrenia of Ty's outlook; today, it's super-dual, with loads of realities all folding back on each other. On any given side, we're tracking five or six full-blown personalities, unconcerned with convention or continuity. "Freedom's Goblin" is thick with deep songwriting resources, be it stomper, weeper, ballad, screamer, banger or funker-upper, all diverted into new TYdentities - each one marking a different impasse, like a flag whirling into a knot, exploding and burning on contact, in the name of love and loathing.
January 26 street date. "Freedom's Goblin" is the new TY SEGALL album: 19 tracks strong, filling four sides of vinyl nonstop, with an unrestricted sense of coming together to make an album. It wants you to get your head straight - but first, the process will make your head spin! Back in the "Twins" days, we talked about the schizophrenia of Ty's outlook; today, it's super-dual, with loads of realities all folding back on each other. On any given side, we're tracking five or six full-blown personalities, unconcerned with convention or continuity. "Freedom's Goblin" is thick with deep songwriting resources, be it stomper, weeper, ballad, screamer, banger or funker-upper, all diverted into new TYdentities - each one marking a different impasse, like a flag whirling into a knot, exploding and burning on contact, in the name of love and loathing.
July 14 street date. "Look out Jay Reatard, this Bay Area one-man band has even scuzzier static in his garage" -SPIN. Burying ’60s sing-alongs and dance crazes beneath waves of reverb and giddy thud, Ty Segall has carved out his own shelf in the San
Francisco neo-psych garage alongside local compatriots and collaborators Sic Alps and Thee Oh Sees. After shattering the Bay Area underground as a frantic one-man band that was devoured by the local press, Segall has now given up the solo act for a three-piece group that destroys sonic and melodic boundaries with manic glee. This new live setup is a better reflection of his studio work. As an exploration of the space between Cro-Magnon fuzz and atmospheric acoustic psych, 'Lemons' is the natural next step after his celebrated self-titled 2008 debut on Castle Face.
July 14 street date. "Look out Jay Reatard, this Bay Area one-man band has even scuzzier static in his garage" -SPIN. Burying ’60s sing-alongs and dance crazes beneath waves of reverb and giddy thud, Ty Segall has carved out his own shelf in the San
Francisco neo-psych garage alongside local compatriots and collaborators Sic Alps and Thee Oh Sees. After shattering the Bay Area underground as a frantic one-man band that was devoured by the local press, Segall has now given up the solo act for a three-piece group that destroys sonic and melodic boundaries with manic glee. This new live setup is a better reflection of his studio work. As an exploration of the space between Cro-Magnon fuzz and atmospheric acoustic psych, 'Lemons' is the natural next step after his celebrated self-titled 2008 debut on Castle Face.
Available now. Reissued. TY SEAGALL's self-titled album broadens the horizon of punk, paying deserved homage to the
roots of rock and roll, while rejuvenating the music for today. As anticipated, the album holds the classic 60s pop-meets-California surf to a fast tempo that pushes the boundaries of punk. While the lo-fi claustrophobia keeps the undercurrent harsh and real, the upbeat melodies and psychedelic, reverb-laden vocals keep it buoyant and hypnotic. Native to Southern California, Ty Segalls solo project began as an attempt to keep his live performances in tune with his recordings.
May 25 street date. San Francisco psych wunderkind Ty Segall continues a tireless musical assault on ears and minds with his third album, 'Melted', WHICH IS packed full of truly psychedelic pop songs with great vocals and exciting arrangements. 'Melted' is a carefree yet precise balance of acoustic and electric elements. Distorted echo and thunder mix together with enough clean guitar lines and addictive choruses to deliver an album that recalls the ’60s without sounding like anything created during that decade.
May 25 street date. San Francisco psych wunderkind Ty Segall continues a tireless musical assault on ears and minds with his third album, 'Melted', WHICH IS packed full of truly psychedelic pop songs with great vocals and exciting arrangements. 'Melted' is a carefree yet precise balance of acoustic and electric elements. Distorted echo and thunder mix together with enough clean guitar lines and addictive choruses to deliver an album that recalls the ’60s without sounding like anything created during that decade.
June 21 street date. 'Goodbye Bread' is the 5th full length from 23 year old TY SEGALL, and his first for Drag City. For those who are unaware, Ty tours like a monster, plays his ass and his band's ass and his audience's ass off every night and people seem to like it. The shows are moving, almost beyond control. 'Goodbye Bread' is to Segall's 2010 album 'Melted' as 'Melted' was to Ty's previous album 'Lemons'. Awesome is evolving again! The preview 7", "I Can’t Feel It" is a smash! Ty fans are loving his new sound. Wait till they hear the nine other songs that are just as far out and rockin'!
June 21 street date. 'Goodbye Bread' is the 5th full length from 23 year old TY SEGALL, and his first for Drag City. For those who are unaware, Ty tours like a monster, plays his ass and his band's ass and his audience's ass off every night and people seem to like it. The shows are moving, almost beyond control. 'Goodbye Bread' is to Segall's 2010 album 'Melted' as 'Melted' was to Ty's previous album 'Lemons'. Awesome is evolving again! The preview 7", "I Can’t Feel It" is a smash! Ty fans are loving his new sound. Wait till they hear the nine other songs that are just as far out and rockin'!
Nov. 22 street date. Jet-packing around the indie/garage cosmos for the last four years, Ty Segall has done too many singles and Eps and split records and shared records and albums and cassettes to count. He's found himself increasingly in the spotlight, and this year's 'Goodbye Bread' for Drag City was met with a big wet kiss from the indie media world. But Segall don't care about that. He ain't in it for the corporate buck. He's made it because he's toured constantly, puts on a great show and genuinely loves what he does. Goner is proud to present a double-album of tracks culled from Segall's massive out-of-print catalog - plus some stuff that never made it out in the first place.
Nov. 22 street date. Jet-packing around the indie/garage cosmos for the last four years, Ty Segall has done too many singles and Eps and split records and shared records and albums and cassettes to count. He's found himself increasingly in the spotlight, and this year's 'Goodbye Bread' for Drag City was met with a big wet kiss from the indie media world. But Segall don't care about that. He ain't in it for the corporate buck. He's made it because he's toured constantly, puts on a great show and genuinely loves what he does. Goner is proud to present a double-album of tracks culled from Segall's massive out-of-print catalog - plus some stuff that never made it out in the first place.
CD June 26 street date / 2x10" LP July 17 street date. In The Red is happy as a pig in shit 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 mini-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 full-throttle, 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.
October 9 street date. If there be just one Ty record to encapsulate this brave ol’ year, Twins is that very one. In fact, Twins just might be the blast that ends it all - or the explosion that launches a brave new evolution? How does time work anyway? Did you know that 2008 is as much yesterday as today is? 2008, that’s when it began, when a sweaty young thing boiled up out of the mythical swamp of ooze n’ groove. Ty Segall was just getting started, his rock was ordering itself into existence. Now it’s four years later, a mereness in terms of expansion, and already, there’s singles everywhere, comps, a live album, and five smashing studio albums paving the way for this modern superhighway you’re gonna call Twins. The songs of Twins are haunted by ghosts, shadowed by the other that we’ll never see, struggling to rise above. A fury of rock ensues: songs rigged to explode on a dime, fired from a cannon into the stratosphere. They fuse together into one multivarious projectile, a bullet from a gun marked yin and yang.
October 9 street date. If there be just one Ty record to encapsulate this brave ol’ year, Twins is that very one. In fact, Twins just might be the blast that ends it all - or the explosion that launches a brave new evolution? How does time work anyway? Did you know that 2008 is as much yesterday as today is? 2008, that’s when it began, when a sweaty young thing boiled up out of the mythical swamp of ooze n’ groove. Ty Segall was just getting started, his rock was ordering itself into existence. Now it’s four years later, a mereness in terms of expansion, and already, there’s singles everywhere, comps, a live album, and five smashing studio albums paving the way for this modern superhighway you’re gonna call Twins. The songs of Twins are haunted by ghosts, shadowed by the other that we’ll never see, struggling to rise above. A fury of rock ensues: songs rigged to explode on a dime, fired from a cannon into the stratosphere. They fuse together into one multivarious projectile, a bullet from a gun
marked yin and yang.
October 9 street date. If there be just one Ty record to encapsulate this brave ol’ year, Twins is that very one. In fact, Twins just might be the blast that ends it all - or the explosion that launches a brave new evolution? How does time work anyway? Did you know that 2008 is as much yesterday as today is? 2008, that’s when it began, when a sweaty young thing boiled up out of the mythical swamp of ooze n’ groove. Ty Segall was just getting started, his rock was ordering itself into existence. Now it’s four years later, a mereness in terms of expansion, and already, there’s singles everywhere, comps, a live album, and five smashing studio albums paving the way for this modern superhighway you’re gonna call Twins. The songs of Twins are haunted by ghosts, shadowed by the other that we’ll never see, struggling to rise above. A fury of rock ensues: songs rigged to explode on a dime, fired from a cannon into the stratosphere. They fuse together into one multivarious projectile, a bullet from a gun
marked yin and yang.
October 26 street date. Includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks!! - Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it. Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output. Includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks!!
October 26 street date. Includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks!! - Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it. Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output. Includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks!!
October 29 street date / December 10 for LP (date change). With "Harmonizer", his first album in two years, Ty Segall glides smoothly into unexpected territory, right where he likes to find himself! Responding to the challenge his new songs gave him: a synthtastic production redesign, Ty kicks back with bottom-heavy creativity, dialing up a wealth of guitar and keyboard settings to do the deed. "Harmonizer" is a glossy, barely-precedented sound for him, and truth, it enraptures the ear - but in Ty's hands, the sound is also a tool that allows him to cut through dense undergrowth, making for some of his cleanest songs and starkest ideas to date. The album's production model couches tightly-controlled beats in thick keyboard textures, with direct-input guitar signal whining and buzzing purposefully from left to right. The Freedom Band appear all over the record, but often one at a time, their contributions leaving a distinctive footprint on the proceedings wherever they appear.
October 29 street date / December 10 for LP (date change). With "Harmonizer", his first album in two years, Ty Segall glides smoothly into unexpected territory, right where he likes to find himself! Responding to the challenge his new songs gave him: a synthtastic production redesign, Ty kicks back with bottom-heavy creativity, dialing up a wealth of guitar and keyboard settings to do the deed. "Harmonizer" is a glossy, barely-precedented sound for him, and truth, it enraptures the ear - but in Ty's hands, the sound is also a tool that allows him to cut through dense undergrowth, making for some of his cleanest songs and starkest ideas to date. The album's production model couches tightly-controlled beats in thick keyboard textures, with direct-input guitar signal whining and buzzing purposefully from left to right. The Freedom Band appear all over the record, but often one at a time, their contributions leaving a distinctive footprint on the proceedings wherever they appear.
October 29 street date / December 10 for LP (date change). With "Harmonizer", his first album in two years, Ty Segall glides smoothly into unexpected territory, right where he likes to find himself! Responding to the challenge his new songs gave him: a synthtastic production redesign, Ty kicks back with bottom-heavy creativity, dialing up a wealth of guitar and keyboard settings to do the deed. "Harmonizer" is a glossy, barely-precedented sound for him, and truth, it enraptures the ear - but in Ty's hands, the sound is also a tool that allows him to cut through dense undergrowth, making for some of his cleanest songs and starkest ideas to date. The album's production model couches tightly-controlled beats in thick keyboard textures, with direct-input guitar signal whining and buzzing purposefully from left to right. The Freedom Band appear all over the record, but often one at a time, their contributions leaving a distinctive footprint on the proceedings wherever they appear.
July 22 street date. "Hello, Hi": welcome in to a new room to play the styles and feels that lie under Ty Segall's fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, "Hello, Hi" pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday. "Hello, Hi" is expansively rendered by Ty, mostly by himself, at home. Ty's acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. "Hello, Hi" is Ty's most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time.
July 22 street date. "Hello, Hi": welcome in to a new room to play the styles and feels that lie under Ty Segall's fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, "Hello, Hi" pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday. "Hello, Hi" is expansively rendered by Ty, mostly by himself, at home. Ty's acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. "Hello, Hi" is Ty's most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time.
July 22 street date. "Hello, Hi": welcome in to a new room to play the styles and feels that lie under Ty Segall's fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, "Hello, Hi" pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday. "Hello, Hi" is expansively rendered by Ty, mostly by himself, at home. Ty's acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. "Hello, Hi" is Ty's most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time.
Please note new street date: June 17. Drag City grandly presents "Whirlybird (Original Motion Picture Soundtrack)", featuring all-new music by Ty Segall, created for Matt Yoka's compelling new documentary.
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