When considering the prolific songwriter that Ty Segall is, one must simply look at his body of work. Diversifying into different outfits, working with various musicians, and continuously releasing music in between months has led to a varied color of music. And needless to say, Segall has continued to impress and improve with every consistently strong release. On Goodbye Bread Segall found deserved praise for crafting an album full-shifted and fully engaging – just a brief time removed from the equally stupendous Melted. Now, with White Fence (AKA Tim Presley), Segall branches out onto a project both steadily awake and invigorated.
With Hair the duo embark on what looks to be a productive collaboration with eight songs that simply put, shake and rattle with contentious spirit. It’s easily one of Segall’s most energetically forceful albums with songs that sound loosely hinged at times and ridiculously out of control in other facets. On “Tongues” the tandem take an acoustic guitar and pair it with electronic tinges of bass. The song sounds invitingly like something Keith Richards and Mick Jagger might’ve created during their greater years, without a blues focus of course. The spotlight here lies on experimenting with ideas that might not always work in their current solo projects. Earlier, on “I Am Not a Game,” the organ-drenched beginning recalls a steady, purposeful drive, before explosions, by way of yelling stabs and jagged riffs, take over. Wherever Segall and Presley continue from here, Hair has many strands of vivid color.
Sometimes the duo has a way of shredding the music into blistering parts that the garage rock in their bodies combats with the heavy rock for an exciting take over. But on songs like “The Black Glove / Rag” they convey a Blitzen Trapper country stroll with ever-current streams of guitar glitter. With a passion for rock and all its decadency, Segall and Presley dress the music with tenacious spirit in the form of rolling guitars and their sweltering voices. As much as “Crybaby” rocks and rolls, its two minutes of noise are a welcome joy and on “Scissor People,” the atmospheres collide with guitar feedback and fuzzy demeanors. Often they sound immersed in the sounds, much like the instruments they’re playing – and yet, never without intensity.
Although Hair comes during a time when Segall and Presley both have pressing commitments in their solo lives, it’s a resounding success because of each party’s stellar workmanship. Segall has been on fire for quite some time and doesn’t seem to be letting up anytime soon (thank goodness) and with Hair the sounds converge for sweet results. There’s a strong sense of pop hooks all over and with a rock vibe that is both heavily-induced and rendered, Segall and Presley have delivered a terrific debut.