Ty Segall & White Fence


Insane schedules and myriad commitments can’t keep Ty and Tim from gravitating back together it seems. While Hair wasn’t received as a major event on its release, it remains a frozen moment of fuzz-whacked garage-psych that’s a highlight in both artists’ catalogs. Segall was but an upstart wading his way through seven-inch stacks to nestle albums one after another until the accolades couldn’t help but catch up to his frantic pace. Tim was fresh from his years in Darker My Love and building a wobbly psych-pop prominence of his own. The album lit a match on the powder keg of creativity that was buried knee deep in Syd Barret B-sides, deleted Pretty Things cuts and the kind of Nuggets-worthy references that stretched from July to Grapefruit and from Kaleidoscope to, well, Kaleidoscope (UK).

Seven years on from their first matchup the pair are worlds removed from the scrappy sonics that defined them both in that moment. Still, with the best of a decade behind us, its good to see that the pair have no intentions of digging in another pile of toys to build their collaborative sound. Joy bears many of the best hallmarks of Hair with an improved fidelity and the steady hands of two artists who know exactly what they love and how to pull it off. The album is stuffed with psych pop that still chews at the same wobbly wrappers littered behind by Barret (Presley’s influence one can only assume) but they also charge head on to some fuzzier fodder that’s got Ty’s footprints firmly embedded in its DNA.

Joy’s only stumble can be its apparent need to stuff itself to the seams. While its stretchier length doesn’t give it the same edge of your seat whiplash that accompanied Hair, the duo takes advantage of the space to shake out all their ideas. T&T fleck their creation with echoplex blowback and spine compressing feedback. They dip into post-Mothers chewed psych-soul mantras, wonky intermediary tracks that would make the Small Faces proud, and folk pop that sees them reaching for shades of Gary Usher and Curt Boettcher. Though, unlike that songwriting pair, they’re clearly not striving for perfection. There are some great cuts on Joy and a whole lot more that sound like two crate diggers riffing on one another. Its fun, because you can feel them having fun but it also feels a bit like they’re missing the opportunity to stuff it full of hits.

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