Whenever Ty Segall’s name comes up, you know the word “prolific” is lingering just around the corner. And if you take minute to really consider how much music he’s put out in a career of about seven years – seven solo albums (that’s one a year since 2008) in addition to a relentless torrent of singles, EPs, side projects, like Fuzz (for which he plays drums and sings), and collaborations, like the album Hair he did with White Fence and Reverse Shark Attack with long-time friend and bandmate Mikal Cronin – you inadvertently find yourself asking, in a somewhat bemused fashion, “How the fuck does he make so much music?” But what’s truly striking about Segall’s preternatural output is not so much the sheer quantity of albums, singles, and side projects he’s involved with at any given time, but the quality control he’s (so far) been able to maintain.
Normally, and I’m sure you’ve all witnessed this firsthand, a band will really lock into a sound, producing one or two interesting and important albums, but will inevitably be pigeonholed by the pitchfork-wielding arbiters of cool, having run into a wall artistically, reaching the limits of their aesthetic. Such bands wind up operating for a while as pale imitations of themselves, and eventually are absorbed back into the shadows of obscurity. But Segall, with uncommonly light feet, has (again, so far) defied that trajectory. Just when you think he’ll hit a downturn, the boosters kick in and he ascends to new and greater heights. Read the rest of this entry »