Ty Seagal/White Fence "Joy." A second teaming of the garage rock dynamo and the bedroom psych weirdo yields results as oddly entrancing as their first effort.
The unbridled rock & roll force that is Ty Segall met up for the first time with the warbly psychedelic wanderings of White Fence for the first time on 2012's Hair, a fine distillation of the pair's strengths. Segall and White Fence's Tim Presley forged a sound that reined in Segall's sometimes excessive energy and gave life to White Fence's often precious music box renderings of '60s excess. Since they made that record, Segall has gone on to expand his sound into something almost arena friendly, while Presley has gotten weirder and more unpredictable with his solo work and other projects including Drinks with Cate le Bon. The duo's reteaming on 2018's Joy tilts the scale toward weirdness with many songs that are odd snippets of sound, lots of Presley's obtuse guitar lines and lyrics that sound like they were left out in the sun a little too long. For the most part, the record works like a charm, with the sometimes gleeful, sometime ominous White Fence psychedelic strangeness adding creepy tendrils that capture Segall's frenetic energy and drag the songs into unexpected places.
Kendl Winter "Stumbler's Business"
Since following up her critically lauded 2012 solo outing The Mechanics of Hovering Flight with the more band-assisted It Can Be Done! (2013), Pacific Northwesterner Kendl Winter has logged endless miles and released a daunting five albums as one-half of indie folk duo the Lowest Pair, with fellow banjoist/singer Palmer T. Lee. With four of those five albums arriving in 2015 and 2016 alone, it's a wonder she was able to write as winsome and thoughtful a collection as Stumbler's Business, her first solo release in five years. A measured mix of earthy warmth and spectral dream-folk, it's a departure from her more old-timey work with Lee, relying on big atmospheric reverbs and occasional accents of distorted guitar and organ to complement its more organic and acoustic elements. Written largely while on tour, the songs are fraught with the emotions and visions that extended travel can inspire, from untethered loneliness and love found to spirited snapshots of sights seen and connections made away from home.
The unbridled rock & roll force that is Ty Segall met up for the first time with the warbly psychedelic wanderings of White Fence for the first time on 2012's Hair, a fine distillation of the pair's strengths. Segall and White Fence's Tim Presley forged a sound that reined in Segall's sometimes excessive energy and gave life to White Fence's often precious music box renderings of '60s excess. Since they made that record, Segall has gone on to expand his sound into something almost arena friendly, while Presley has gotten weirder and more unpredictable with his solo work and other projects including Drinks with Cate le Bon. The duo's reteaming on 2018's Joy tilts the scale toward weirdness with many songs that are odd snippets of sound, lots of Presley's obtuse guitar lines and lyrics that sound like they were left out in the sun a little too long. For the most part, the record works like a charm, with the sometimes gleeful, sometime ominous White Fence psychedelic strangeness adding creepy tendrils that capture Segall's frenetic energy and drag the songs into unexpected places.
Kendl Winter "Stumbler's Business"
Since following up her critically lauded 2012 solo outing The Mechanics of Hovering Flight with the more band-assisted It Can Be Done! (2013), Pacific Northwesterner Kendl Winter has logged endless miles and released a daunting five albums as one-half of indie folk duo the Lowest Pair, with fellow banjoist/singer Palmer T. Lee. With four of those five albums arriving in 2015 and 2016 alone, it's a wonder she was able to write as winsome and thoughtful a collection as Stumbler's Business, her first solo release in five years. A measured mix of earthy warmth and spectral dream-folk, it's a departure from her more old-timey work with Lee, relying on big atmospheric reverbs and occasional accents of distorted guitar and organ to complement its more organic and acoustic elements. Written largely while on tour, the songs are fraught with the emotions and visions that extended travel can inspire, from untethered loneliness and love found to spirited snapshots of sights seen and connections made away from home.
From the above is there anything that betters Steven Wilson "To The Bone"? That was my favourite album of 2017.
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