Ty Segall – Freedom’s Goblin

Ty Segall, the one-man-garage rocker and nineties Beck 2.0, released a brand new album, Freedom’s Goblin. It is most progressive album after his previous nine studio albums: numerous collaborations and projects with other groups such as Slaughterhouse and Fuzz.

ty se
Drag City Records

His latest album, produced by the legendary Steve Albini, offers 19 tracks – all wide ranging and unreserved; there’s a reason why “Freedom” is featured in the title. This is a bold move, especially in music today. You don’t hear artists releasing double LP albums that blends various genres similar to the Beatles White Album (1968) or The Clash’s London Calling (1979). On Freedom’s Goblin, you hear elements of music that is reminiscent to classic rock (The Beatles, T-Rex, Todd Rundgren) and Segall’s contemporaries (Ohh Sees, Black Lips, Jack White). The variety and intensity keeps you listening. It’s a great album for newcomers. Its like experiencing the Kinks for the first time through their Kink Kronikles (1972) compilation – so much at once. It’s not as much psychedelic nightmares recorded from the underground, with scary album covers like his previous albums. It’s rock n’ roll with all its sub-genres: with some tight pop music in the mix, distorted guitars with a lot of humor and attitude – Segall is free and all over the place and lost at the supermarket.

Freedom’s Goblin opens with Segall going full Ryan Adams. The instrumentals in “Fanny Dog,” resemble certain classic rock elements, along with the slithering 3D’s/Pavement guitar riff. “Rain” by its title alone, is a Beatles tribute song. Segall lets out his inner John Lennon, reflecting Lennon’s vocals from “Strawberry Fields Forever.” This is the song that gets your mother listening by the door, asking “What Beatles song is that?” Next, Segall covers the seventies disco classic, “Every 1’s a Winner,” originally by Hot Chocolate. Here, Segall flirts with a more glam rock style, with an overly aggressive heavy Beck riff, which is of most importance. On “Despoiler of Cadaver,” Segall dives into a synth void and even becomes a bit Right Said Fred too sexy, especially when singing – “I want to whisper in your ear and give you everything.” This could’ve been a whirling disco dance floor hit in the seventies or played in a late nineties nightclub – a great followup funk number and one of the best off the new LP. “When Mommy Kills You,” is a classic Segall track, with again, a feeling of the Beatles, mostly from the background vocals. Even Yoko sounds like she could’ve been the overdubbing high pitched voices at the end. You can tell Segall is a big fan of Chris Bell and Big Star, on “My Lady’s on Fire.” Segall gets tender (“Alta,” “Cry Cry Cry,” “I’m Free”) and you can feel how profound his singing is. “Alta” is an environmental song, set in California – reminiscent of something the Beach Boys would have released from their 1970-1973 period. “Meaning,” could’ve been a new Jack White single for Boarding House Reach, but after the opening, it turns into this sprawling punk tune, with Segall’s wife singing lead vocals. “Shoot You Up,” is just as rebellious and heavy as The Clash’s “Guns of Brixton,” but Segall’s tone isn’t as pushy and intimidating as the instrumentals. The highlight, “You Say All The Nice Things,” is a lost T-Rex Slider (1972) take. “The Last Waltz” certainly sounds like its title with its word painting around the instrumentals, which also shows influence of “Being for the Benefit of Mr. Kite!” by the Beatles. Typical blurred guitars from Segall, make their return on “She,” with Segall going heavy metal on vocals. The Wowee Zowee sections consists of “Prison,” – a goofy wild comedic instrumental transitional piece to the squalling saxophone and guitar boogie of “Talkin 3,” – where Segall screams the entire time and “The Main Pretender.” “5 Ft. Tall” is the catchiest number off the album and it includes a riff which could have been from one of the Nuggets compilations. The closing track, “And, Goodnight” is an 11 minute experimental trip, where it sounds as live as Neil Young’s Live Rust (1979). The solo seems never ending and when it finally ends, you want more. It’s like when waking up from a dream when reaching the climax. Luckily, Segall is pretty fast with releasing new music, so lets hope for some more dreams.

Segall, along with other artists such as Ron Gallo, are going backward in music and trying to give light on a genre that has been declared “dead” and irrelevant to today’s music standards. On an independent label such as Drag City, artists have the freedom to bring back or experiment with the music, in which they desire. On Freedom’s Goblin, Segall has established himself as a free musician, in celebration to the second garage rock revival, in which he conquered through his excellent taste of fuzzy guitars and melodic sensibility.


Favorite tracks: “Rain,” “Every 1’s a Winner,” “Despoiler of Cadaver,” “My Lady’s on Fire” “You Say All The Nice Things,” “Talkin 3,” “And, Goodnight” 

Least favorite tracks: “Cry Cry Cry,” “Shoot You Up,” “She” 

You can listen to Ty Segall’s Freedom’s Goblin here


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