A lot of times I use Ty Segall as a kind of yardstick for the wetest reverbed out high treble distortion pop. He's really always nailed that heavily crafted sound out of almost non melodic elements, effects so fuzzy like the sound of sandpaper. Each track is a surprise, the guitar is always fucked up in a new way. It's a fork in Screaming Jay Hawkins path, the end result of a frantic, excited blues sound, like this could very well be his last recording. Time or life is catching up with him. I like to think you can hear that in Jay Reatard's work looking back. Taking full advantage of every second, his no future punk getting washed away in a garage psych, pushing the standard definitions of reverb and delay to impossible levels. Not only does the French duo, Los Dos Hermanos travel in exactly the same sonic territory but they even directly reference Ty with an amazing medley on the B-Side
"Alienor" opens on spread out drippy reverb in a single note melody that's joined by a shrill high tempo warbly chord progression from a second guitar. A caveman stomp beat is two stepping behind Billy and Carole who are trading vocals back and forth buried under another layer of echo. When Carole takes center vocal on the next verse it's going total Hussy sound for me, she's the Heather to Billy's Bobby. They hit those reverb waves that trail off into infinity feedbacking in on themselves, throwing those loops getting louder all over the place. Crazy energy here with owee owee ooo's in the layers of the background. The tape slows down and ramps back up with a reverb loop washing out into total noise intent on destroying the treble settings or any possible EQ correction. It's squished right up to the glass at full volume, they have not only the special magic of the duo gong for them, being forced to work harder than bands with more members. But with two instruments they manage to expand a simple distortion out into a hazy fuzz fest of garage. Perfectly mixed this plays at insane volume and at one point Billy beats on the strings past the bottom bar in severe plinking. When you've got the volume this hot anything you touch on the guitar sounds like a barfight.
B-Side's "Paye Ty Chatte" gets right into those squealing notes from "Standing at the Station" and Los Dos take care of this frantic tempo yelping the ends of these versus right into shrill reverb bounce. They might even be pushing these a little faster than the originals. Carole joins in harmony every other line making things that much more frantic. A low brrrrrrr of feedback cable hum and cymbal crashes transitions into "Oh Mary" and these guys aren't just doing a novel medley of Ty, but really nailing the spirit and energy of the originals. More feedback ends this one with shaker freakout and crackling electricity. Fantastic B-Side, hope Ty gets to hear their take on both of these.
Just as much care went into the printing of this sleeve also, heavy card stock, thick screened art and I even appreciate the mylar feeling plastic sleeve...all around classy, another reason whoever gets one of these 75 green or red editions is going to hold on to it forever.
Ship this over direct from Six Tonnes De Chair or check with you local distro's
No comments:
Post a Comment