Matt's ears are so great-he was a key part of all that." You're kind of writing blindly, and then you're mixing differently, too. “It was fun because it yields different song structures, chords, and changes. “We wanted to really try to make this record sound differently than my other records," Segall says, also referring to coproducer Matt Littlejohn, who has worked with the band for years as its go-to sound engineer.
Even so, when he told the members of his Freedom Band last summer that he wanted to track an axe-less album, they couldn't wait to get started. And while the bouzouki and koto might be, at best, distant cousins to the guitar, Segall still had to learn his way around them from scratch. The answer lies in his selection of instruments, which includes a flute-like Japanese recorder, an electric Omnichord, a mandolin, and, most importantly, a Greek 8-string bouzouki (bought at a music store in Van Nuys, California, not far from Segall's new home in Topanga Canyon) and a 5-string electric koto (acquired while on tour in Japan).
So how did he pull off a complete switching of gears to make the album he chose so cheekily to call First Taste? But even a passing familiarity with Segall's recorded output reveals that not only has the electric guitar been a prime vehicle for his musical expression, it's actually the focal point of what makes him so compelling as an artist. Given his inexhaustible penchant for sonic experimentation, it all fits the profile for Segall, who over the past decade has churned out a rapidly expanding galaxy of genre-busting rock, ranging from the raw, throwback garage punk of his 2008 self-titled debut to the mind-bending sophistication of 2014's Manipulator, a deep study in psychedelic freestyling inspired by the likes of Jimi Hendrix's Electric Ladyland.
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For me, it just felt like I was using similar voicings and chords all the time, so I thought I needed to play instruments I didn't know how to play, you know? Those are the instruments I literally learned how to play for the album, and I wrote songs on them for the first time." “I think that happens if you become too familiar and comfortable with an instrument. “I noticed that I was falling into patterns with my guitar playing," he says candidly. As Segall himself explains, the idea emerged from what he experienced as a mild crisis of creative necessity. And it's not a move he made by design-at least, not exactly. So drenched and sloppy sounding is Shaw’s guitar amp that you wonder whether he didn’t fish it out of a lagoon.Let's refrain from “burying the lead," so to speak, and begin instead with an uncanny revelation: There are no guitars on noted garage/psych-rocker Ty Segall's new album. The only things warm and fuzzy about the record are the bass-lines, often fed through distortion boxes to create scratchy, sibilant overtones. These are sour sounds made by apparently bummed guys, so don’t expect songs to arrive bearing bouquets.
By the end of the song, Segall has pitched such a percussion fit that you wonder whether he limped away on crutches.
“We are not scared,” yells Shaw, as if defiantly facing down death itself. Opening song “Falling In” is constructed atop a three-chord building block that never wavers, moving with a Motorhead-ian sense of purpose. As one of the most ambitious and productive rock dudes in the area, he has spearheaded a movement that connects loud and fast punk, garage rock, metal and hardcore with little regard to overlap or bleed-through. It’s as dense as concrete, built not with drives and transistors, but with chords and cords.
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