Steadfast and willingly able to further his craft, Ty Segall returns with his third album of 2012, Twins. His first and only album of the year as a solo artist, it follows Slaughterhouse’s smashing success and Hair’s brilliant chemistry with sounds that are reliably Segall’s. And thank goodness really, Segall has been one of music’s most consistent musicians in the past five years; fortunately for us, the skillful music comes at a relentless pace. Segall has definitely positioned himself as someone to look at for guiding moments – the music on Twins is more of the fantastically great quality we’ve come to expect.
On songs like “Love Fuzz,” Segall intertwines obvious sentiments (fuzz, longing lyrics) and injects a ferocious bite that never swells. While the drums segment a chugging drive to the song, Segall’s stabbing falsetto climbs around the scope and delectably lost in the blissful fuzz, the psychedelia Segall is living in spins around the listener’s head. This kind of style is something Segall has championed ever since Melted’s undying blend of psych and garage. Here on Twins, Segall can still bewilder with an opening to a song like “The Hill,” before clashing in the sound with noisy guitars. More than anything, the diversity belongs to Segall’s ability in being able to create superb songs that neatly fit around each other.
And while neat isn’t the operative word in Segall’s music – even the closing “There is No Tomorrow” is unabashedly rollicking with a downtrodden sequence and the melting guitar and reverb – the twelve songs on Twins amass into thirty-five minutes of solid rock and roll. On that aforesaid closer, the guitar solo stunningly renders the entire album home and as Segall bemoans the future, the crashing instruments around him paint more than ample images of what the true envisioning entails. When you release over thirty new songs and deliver them onto three separate releases, each one will seem a bit shorter but this neatness allows for each album to leave a longing impression of the musicianship Segall possesses.
Nonetheless, it’s great to see Segall flashing strides of pure adrenaline-filled rock, like on “You’re the Doctor,” where the cymbals and drums compete with the mesmerizing guitar in creating a fire-shot of energy. And on “Who Are You,” the music is contrasted with a much lighter feel and rhythm; whatever Segall decides to do, the songs are all melodically rich fortunes. There’s an endless amount of desire on Twins and Segall ensures that while all the songs build off the previous’ intensity, “Thank God for the Sinners” opens the album with gloriously monstrous guitars. It’s apparent Segall has simply benefitted from a powerfully vast 2012 and again, how can we be so lucky?
And for what Twins lacks in terms of length, it more than makes up for in excellent songcraft. Segall infuses the songs with timely solos, harkened harmonies that compliment the equally-strident verses, and a meshing of percussion and guitars that always pound away. His recipe for success is untainted and for now, with three releases to enjoy for 2012, Segall is king of the hill.