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Ty Segall – Freedom’s Goblin

Much like his garage rock contemporaries Oh Sees and King Gizzard & The Lizard Wizard, Ty Segall does not believe in taking a break. Following up 2017’s self-titled album, Freedom’s Goblin is Segall’s ninth album in ten years… And a double one at that. It’s been described by a lot of people as his White Album, a comparison that definitely fits. At 75 minutes long, it’s grand, sprawling and diverse (exploring every genre from disco to jazz), demonstrating that Ty Segall really is a master at what he does.

Unlike the White Album though, Freedom’s Goblin is a single, focused vision. Despite all the genre-hopping, it flows incredibly well; the dramatic piano ballad ‘Rain’ slips effortlessly into Segall’s heavy, fuzzy cover of Hot Chocolate’s ‘Every 1’s A Winner’, and the acoustic ballad ‘I’m Free’ feels like the perfect breather after the off-kilter freakiness of ‘The Main Pretender’. All of the songs fit together like the pieces of a jigsaw puzzle, and there’s only a handful that feel like they could’ve been cut. Even ‘Prison’, an instrumental track that lasts only a minute, feels important, acting as a fantastic bridge between ‘She’ and ‘Talkin’ 3’. It’s rare for a nineteen-song album to be so devoid of filler.

There are too many noteworthy tracks on Freedom’s Goblin for me to go into them all. ‘Fanny Dog’ which opens the album is bombastic and fun, with Ty singing about his pet dog over a typically fuzzy guitar and some trumpet flourishes. It’s a solid song, and there’s something undeniably sweet about him singing so dramatically about his pet.  Elsewhere, he dives into more jazzy territory with tracks like ‘Rain’ and ‘Talkin’ 3’. The former is a low-key piano ballad that builds to a big finish, while the latter is a deranged saxophone freak-out. There are also some great acoustic songs littered throughout the tracklist (the best of which being ‘My Lady’s On Fire’) as well as some which resist being pigeonholed into specific genres – like ‘Despoiler Of Cadaver’. Featuring an old-school drum machine beat, the track manages to be groovy and unsettling at the same time – a mood that the album pulls off frequently.

The album also features its fair share of great rock songs among Segall’s experimentation. ‘Alta’ is probably the most straight-forward cut on the album; it features a huge, almost anthemic chorus with a classic rock feel to it. ‘Shoot You Up’ similarly plays things straight, but has a more lighthearted and playful vibe to it. The album’s finest rock moment, though, is ‘She’ – a mostly instrumental track filled with writhing guitar solos and Segall screeching out the song’s title here and there. It’s rock in its purest form, and while there’s not a lot of substance to it that doesn’t stop from being a lot of fun. Segall knows how to put together a song that you just want to rock out to.

Though Freedom’s Goblin is consistent overall, there are a few weaker moments in the tracklist. A couple of songs do feel slightly inessential; ‘Cry Cry Cry’ and ‘You Say All The Nice Things’ in particular lean on the forgettable side. Almost every song on the album has a unique spark to it – allowing it to stand out in its own way – but these two don’t do much that isn’t done better elsewhere. In terms of the album’s softer moments, ‘My Lady’s On Fire’ and ‘I’m Free’ work a lot better for me.

But luckily, these weaker songs don’t detract from the album too much… Freedom’s Goblin is generally solid all the way through and avoids being front-loaded like many double albums are. It opens strong and it closes strong. ‘The Main Pretender’, which lands right near the end, might just be the album’s best cut – it’s fantastically weird, with some off-beat brass instrumentation, yet it also has a great sing-a-long chorus. Similarly, ‘And, Goodnight’, the album’s closer is stunning. It’s indulgent at fourteen minutes, but it feels like the perfect way to cap things off.

When a huge and sprawling album like this one is put out, it’s almost always a let-down. It’s rare for an album so long to remain engaging throughout, but somehow Ty Segall manages to pull it off. Freedom’s Goblin’s is one of the best rock albums I’ve heard in a long time and easily one of the best albums to drop this year so far.

Best Tracks: ‘Rain’, ‘My Lady’s On Fire’, ‘The Main Pretender’

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Django Django – Marble Skies

After their debut album was nominated for the Mercury Prize in 2012, Django Django shot into prominence abruptly. And the attention was deserved; Django Django is a great album that I still find myself revisiting from time to time. It strikes a balance between the band’s kookiness and accessibility, featuring plenty of solid songs like the incredibly catchy ‘Default’. Django Django’s sophomore effort, 2015’s Born Under Saturn, was admittedly much weaker, with even the band showing some ambivalence towards it in recent interviews. Despite a few solid tracks (‘First Light’ is still one of the best songs they’ve put out), it felt uneven and bloated at almost an hour long.

Luckily, Django Django seem to have learned from that album’s problems. Their latest release Marble Skies brushes in at just forty minutes with only ten tracks and feels tighter than anything they’ve released before. Unlike Born Under Saturn, it doesn’t feel like the band are trying to be big and showy (even the promotion in the lead-up to the album’s release felt muted) but just serve up a solid set of songs that flow together well. And I’d say they’ve succeeded at that.

Marble Skies features some of the most straight-up fun songs the band have ever put out, from the incredibly danceable ‘In Your Beat’ to the wild and jumpy ‘Tic Tac Toe’. It definitely feels like they’re trying to cut loose a bit more. The album’s title track and opener shows this best; ‘Marble Skies’ contrasts significantly with the slow openers featured on the band’s previous two albums, kicking things off with a huge burst of energy. The song barrels along through its verses, choruses and delightful vocoder-featuring bridge at a break-neck pace, never letting up. This is true with many of the album’s highlights, such as the previously mentioned ‘In Your Beat’ and ‘Tic Tac Toe’ (which even opens with David Maclean telling us to not ‘go so slow’.)

Though many of the album’s less hectic moments land just as well, such as the R&B-infused ‘Surface to Air’. Featuring guest vocals from Slow Club’s Rebecca Taylor, it definitely has a distinct feel among the band’s songs – even if the bizarre instrumentation is incredibly Django Django. It’s restrained, yet still punchy. Another highlight is ‘Real Gone’, the one track on Marble Skies that really does take its time. The song opens with a long synth-tinged instrumental intro (that sounds like the soundtrack to a long-lost ‘70s sci-fi movie) before slowly gathering momentum. It’s easily the album’s most self-indulgent moment, but the crescendo the track eventually reaches is definitely worth it.

I will admit that the album does end up sagging slightly in the middle with the country-infused ‘Further’ and piano ballad ‘Sundials’, both of which, while not bad, definitely stick out among the much stronger songs that surround them. I similarly found myself underwhelmed with ‘Fountains’, which closes out the album. It just feels too inconsequential to me – as pleasant as the song is – ending things with a shrug rather than a bang.

This isn’t an album that comes across as a grand artistic statement – like many try to be these days – and I don’t think that’s what it was intended to be. It feels like Django Django took a back-to-basics approach, focusing on crafting songs that are just plain enjoyable to listen to. And I definitely Marble Skies is all the better for it.

Best Tracks: ‘Marble Skies’, ‘Tic Tac Toe’, ‘In Your Beat’.

Dream Wife – Dream Wife

Following a string of impressive singles, Dream Wife’s debut album is here. Boasting a strong alt-rock sound with a feminist edge, the style the band go for isn’t entirely fresh but they pull it off incredibly well. Fronted by Rakel Mjöll and her violent vocals (with Alice Go on guitar and Bella Podpadec on bass), at their best, they deliver up fantastic punchy anthems full of aggression and energy.

When the songs land here, they really do. The aforementioned impressive singles – ‘Let’s Make Out’, ‘Somebody’, ‘Fire’ and ‘Hey Heartbreaker’ – open up the album in a long line. All of these tracks have the same verse-chorus pop song structure, but there’s just about enough variation between them for the songs to stand out from each other. ‘Let’s Make Out’ starts things off on a huge high-note; I love Mjöll’s screaming, raw delivery of the song’s title on the chorus. ‘Hey Heartbreaker’ is similarly high-energy, with plenty of shouting again and even some peppy hand clapping. ‘Somebody’ and ‘Fire’ are both gentler in tone, but no less solid. The lyrics on these songs aren’t anything remarkable, but they’re fun and memorable.

Unfortunately, the album seems to lose its footing after these opening tracks. While the rest of the album is far from bad, nothing really matches up to those first four songs. We get a number of slower, less poppy tracks, such as ‘Kids’ and ‘Love Without Reason’. Both of these songs shift away from screaming vocals, opting for a more tender sound… But Mjöll’s voice doesn’t work half as well when she’s speaking softly. It’s way more suited to big, melodramatic songs about heartbreak than quiet ones about friendship, like ‘Kids’ (even if it has the most lyrical depth out of any song on Dream Wife.) In comparison, ‘Love Without Reason’ falters largely because of its lack of lyrical depth, pretty much jumping between a one-line verse and a one-line chorus for the entirety of the song. It just feels underbaked.

The songs in the second half in which the band return to their energetic punk-rock sound work better. ‘Taste’ and ‘F.U.U.’ are both solid, fun songs, featuring huge choruses… But they’re held back by the fact that the band have done the whole ‘quiet verse and loud chorus’ structure better before, making it hard for them to stand out. They’re fine, they’re fun – but there’s not much more to them than that. And in a way, that’s how I kinda feel about Dream Wife as a whole. It’s a really enjoyable rock album with tons of attitude, but you’ll probably get everything out of it on the first listen. I just can’t see myself coming back to it much.

Best Tracks: ‘Let’s Make Out’, ‘Somebody’, ‘Hey Heartbreaker’.