Well, it's a new year, which means a new album from Ty Segall.Drag City, 2018
8.5 / 10
Last year with Ty Segall’s second self-titled album, it sounded like the beginning of the end for indie’s busiest musician. Seriously, this guy and John Dwyer purposely seem to document every musical thought they have. King Gizzard & The Lizard Wizard accomplished a Segallian feat by releasing five full-length albums last year. And all five were more fun than Segall’s 2017 solo album. Here we are at the start of 2018 and in no surprise to anyone, we have a new Ty Segall album. Does Freedom’s Goblin continue Ty Segall’s mediocre trend? Well, here’s the real surprise…it doesn’t.
Freedom’s Goblin is a return to form for Segall; on par with 2014’s Manipulator. Much like that album boasted a hefty track list, Freedom’s Goblin adds two more songs to land at 19. And there’s barely any filler. But it should be said that what some may deem as filler could be the bee’s knees for others. It just depends on which Ty Segall speaks to you. He runs through his whole bag of tricks from garage rock to psychedelic to a jazz rock fusion to sludgy metal and even softer acoustic songwriter fare. It’s all here; the whole Segall.
For a guy that should be tired and bored, he sounds full of life. This is the Segall we want. Putting his best foot forward on absolute beasts like “She” and “Alta”. The latter evolves from a pristine glam melody before evolving into a warzone. “She”, on the other hand, immediately drops you into the center of a demolition derby. Elsewhere, Segall flashes his muscle while also bringing the catchy goods with songs like “Every 1’s A Winner” and “Fanny Dog”. Then you get experimental detours like “The Last Waltz” and a 12-minute Floydian reimagining of Segall’s “Sleeper” that rests here as “And, Goodnight”. It’s a powerful cap off with an added sense of familiarity. But most familiar is Segall doing what he does best. Solid rock jams.