Ty Segall & White Fence - Joy - Albums - Reviews - Soundblab

Ty Segall & White Fence - Joy

by Rob Taylor Rating:7 Release Date:2018-07-20
Ty Segall & White Fence - Joy
Ty Segall & White Fence - Joy

Still deep in the psychedelic canyon, Ty Segall and Tim Presley collaborate on another effort, Joy, synthesising the best of their respective songwriting talents and quirks, and yet somehow managing to overreach the mark at 15 tracks in 30 odd, rather heterogeneous minutes. No worry, Joy is pretty enjoyable with its beatific harmonies, doe-eyed choruses and controlled freakout segues. There are nonetheless inclusions that might irritate a little. Like ‘Rock Flute’ which is 30 seconds of what sounds like a squeaky child’s swing, and purposefully butchered harmonica; or the Bartokian weirdness of ‘She Is Gold’ which, for the most part, sounds like the prosaic but somewhat unsettling organ experiments of Miles Davis from the 1970s when he was too sick to play trumpet. Sure for the last two of five minutes, we get some interesting prog riffs and drum rolls that threaten to build anticipation, but they inevitably fizzle away to nothing. The successor track ‘Tommy’s Place’ sounds like the misjudged soundtrack to an unintentionally scary children’s programme.

In spite of those misfires, Joy is pretty much what it says on the packet. ‘Please Don’t Leave This Town’ employs sweet acoustic reveries, silvery melodies and angular guitar in a beguiling and altogether successful experimental pop sound. Following the ruminative interlude ‘Room Connector’, the rambunctious glam rock of ‘Body Behaviour’ seems the perfect representation of each musician’s singular talents. The little wigout at the end is special. The spirit of latter-era Beatles is evident on ‘Good Boy’ and is wonderfully imaginative with fitful bursts of guitar reminiscent of the work Presley did on ‘For The Recently Found Innocent’ particularly the track ‘Wolf Gets Red Faced’ off that album. Guitars that sing yearningly for an era of more innocent and free-spirited endeavour. Twisted garage rocker ‘Hey Joel, Where Are You Going With That’ meddles counter-intuitively in avant-rock nowhere-land but somehow, sardonically, pulls it off. ‘Other Way’ spits out jarring noise that ends abruptly but not nearly as abruptly as the track succeeding it. Blink and you’ll miss it but no matter, ‘Do Your Hair’ sticks around for long enough to resemble a conventional track.

It all ends with ‘My Friend’, a really fun folk-pop carousel of sound based around the acoustic strengths of Segall and Presley.

 

 

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