Itunes slaughterhouse ty segall band
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It’s a dirty-as-sin take on one of the 1950’s dirtiest songs, and Segall and his posse pull it off flawlessly. Their cover of Bo Diddley’s “Diddy Wah Diddy”, while no doubt completely blasphemous in every sense of the word, is unadulterated fun, with the slight break in the chorus giving way to a wall of sound, throat-shredding screaming and the best guitar solos on the album.
#ITUNES SLAUGHTERHOUSE TY SEGALL BAND FREE#
break free of rock convention and innovate with touches of absolute insanity that the album shines brightest. The guitars are the stars of the sound: squealing, snapping, and tandem solos are the order of the day, helping obscure Segall’s shortcomings as a vocalist for rocking songs, and the bass and drums do their job admirably. The tunes are simplistic but massive, odes to blown-out amps and punk ethos. It’s balanced well between manic punk sprints and chugging long-form stompers, each track transitioning naturally into the next with sighs of feedback, sprinkling cymbals, and off-the-cuff studio commentary (“*** THIS ***ING SOLO!” takes the cake as the best line from the entire album). Taken on its merits, Slaughterhouse certainly isn’t a bad album. What with the self-absorbed distortion that both opens and closes the album, the dirt-coated simplistic chord structures, the more-style-than-substance guitar solos, and Segall’s reverb-encased wail, it’s hard not to hear The Stooges or MC5 playing in the back of your head. While it may seem pedantic to encase these folks in imaginary cages of genre, they don’t do themselves any favors with their respective product. Now, The Black Keys are 60s soulsters, Best Coast is 70s surf-rock, M83 is the 80s, Silversun Pickups are 90s college-radio, and Ty Segall- well, Ty Segall Band really, really wants to be Motor City rock.
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It used to be that DJ Shadow crushed and recombined the old and unknown, Radiohead looked at rock through the lens of Thom’s favorite electronic producer of the week, and Foo Fighters took the simple melodies of grunge and took away the pesky distortion and emoting. The latest generation of music-makers wears their influences less like badges and more like face tattoos.