Ty Segall
Possession
***and1/2 out of *****
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The prolific Los Angeles based artist Ty Segall has an insane work ethic, recording all sorts of styles and whatever pops into his head from glam to prog to garage albums. For his seventeenth studio effort, Possession, Segall has delivered his most pop-rock friendly leaning effort that pulls directly from the mid 60's heyday of rock.
The multi-instrumentalist brought in a few friends to help him out on this effort as Possession showcases, Segall - Guitar, Bass, Drums, Piano, Keys, Percussion, Voice, Mikal Cronin - Saxophone Eric KM Clark - Violin, Kaitlin Wolfberg - Violin, Heather Lockie - Viola, Emily Elkin - Cello, Jordan Katz - Trumpet, Trombone, amping up his more lo-fi tendencies, but keeping his shaggy style intact.
Anyone playing in these waters is going to get the term 'Beatlesque' attached to them and Segall embraces this from the start with opener "Shoplifter" as the tune layers up string sections, skittering beats and a late arriving horn section that works well. Album centerpiece "Fantastic Tomb" feels the most flushed out effort as Segall brings in a Fab Four pop influence to start before revving up a second half that incorporates his fuzzy garage rocking.
At times listening to Possession it is fun to try to guess Segall's influences. A clear one is The Kinks as the guitar groove and 60's pop harmonies displayed on the title track and the chugging, swelling tones along with the late arriving big horns of "Skirts of Heaven" both remind of the classic act. The 70's radio ready hit "The Big Day" has hints of Bad Finger while "Shining" brings to mind The Greenhornes, a different retro-looking rock outfit with acoustic/electric guitars swirling together in garage pop fashion.
Segall is not just mimicking though as the end of the album shows a few unique offerings. "Hotel" is an odd rocker without real oomph that uses strings to develop a unique tension while "Alive" is big and dramatic, shaky and off-putting, in artsy fashion. These flourishes show Segall can't truly sit still, but the overall vibe of the album seems more mainstream than anything the experimental rocker has offered up in the past.
Oddly by staying in one musical vein, the overall album flow isn't as satisfying as Segall's past work, such as the head swirling high point Freedom's Goblin, or Manipulator. Perhaps Segall works best when he opens up his mind and recordings to all influences, but keeping things more streamlined makes Possession an easy entry point to Segall's huge back catalog and safe, sweet release.
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