The quirky acoustic progression recalls the unsettling folk of his 2013 album “Sleeper,” while grounding itself in comforting melodies and endearing lyrics. “Orange Color Queen” offers a heartwarming glimpse into the garage rocker’s sweeter thoughts. Segall’s folk efforts, on the other hand, hold their own. The opener, “Break a Guitar,” incorporates forceful glam punk aesthetics to suit the tighter band, remodeling Bowie’s flare with Segall’s staple punch, but it again feels refurbished and mundane. The more pointed anger of a technically proficient modern player has replaced careless fury of younger days. “The Only One,” for instance, takes Ty Segall circa 2008 and packages it in a shiny new high-fidelity box, but it doesn’t capture the loose rage that made tracks like “The Drag” so enjoyable. The record conjures up a few renditions of Segall’s trademark garage rock. Like fond memories, they observe the past through a tinted looking glass. Tighter production techniques give the tracks a bright sheen. Each song idealizes a different sector of Segall’s musical range, synthesizing his past work and influences into a single musical idea. “Ty Segall” packs eight full-length LPs and an extensive list of formative records (See: Syd Barrett’s entire discography) onto a 10-track canvas. If we want to figure out what Segall is trying to do, we have to unpack the arrangements. The only difference is that Segall doesn’t tell his life story in lyrics - he tells his artistic story in music. Ty Segall’s latest self-titled album is an autobiography, and, like written autobiographies, it demonstrates all the difficulties that we associate with authorial bias. If we don’t, the writing will lie to our faces. If we digest the text correctly, the authorial bias gives new life to the text. Self-indulgence and insecurities often cloud their anecdotes and spin the story into fictional territory. Their authors, while experts in the subject matter, are inherently biased. As readers, we should always approach autobiographies carefully.
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