Ty Segall's "Slaughterhouse"
- Article by: Sean Maloney
- Posted: 06/21/2012
In case you didn't get the memo: Summer 2012 is the Summer of Fuzz! In its honor, everyone should celebrate by shaving not more than once per month, letting that thing in your fridge keep growing and blasting Slaughterhouse, (the new LP by San Francisco's Ty Segall), until either the cops show up or Labor Day rolls around. (Odds are it'll be the former rather than the latter.)
After a few summers of reverb-drenched complacency and New Wave-aping bores dominating the world of underground rock, the overdriven guitars and sheer belligerence of Slaughterhouse is a welcome relief. With six full-lengths and an almost unfathomable number of singles, tapes and compilation tracks under his belt, Segall has synthesized an inscrutable combination of anarchism and ambition, evoking everything from Space Ritual-era Hawkwind to noise-punk pioneers Pussy Galore.
From the first squeals of feedback on the album opener of “Death,” to the, well, ten minute feedback drone of album closer “Fuzz War,” Segall and crew pummel through the dark side of punk rock ‘n’ roll with reckless abandon and undeniable hooks. "Mary Jane" -- the pell-mell number that skids into "Fuzz War" -- is a true testament to Segall's ability to write a real melodic zinger when it comes to hooks. But beyond just coming up with zingers, Segall has traveled out of his comfort zone to relocate the slaughterhouse into more remote rock territory than he has visited in the past.
Combine the aggression of early East Bay hardcore with the Motorik of space rock and the wild abandon of classic garage rock and you've got an idea of what's coming to you when you enter the Slaughterhouse. The fuzz and the distortion are still there, but even with the slight change in artistic direction of Segall's most recent release, he still manages to remain convincing when it comes to the authentic representation of any genre he chooses to explore.