Ty Segall: Melted (2010)


Uno de los grandes redescubrimientos de este 2010 ha sido el nuevo resurgir del Lo-Fi. Los sonidos “surgidos” a comienzos de los noventa principalmente en los Usa (Sebadoh, Guided by Voices, Pavement…) han visto como gentes como Dum Dum Girls o Harlem vuelven a utilizar estos métodos de grabación en poquísimas tomas y añaden ese plus de intensidad y frescura a sus álbumes. Ty Segall es otro de los ejemplos que podemos encontrar en este 2010. Iniciado su proyecto como un one band man, en la actualidad con este tercer disco se hace acompañar de una banda más o menos estable, ha aligerado algo su sonido eliminando algo de crudeza, y nos presenta este Melted (2010), un álbum donde sus principios aparecen inalterables, utilizando el Lo-Fi como punto de partida para su álbum. Un disco breve, más o menos media hora y de gran intensidad y ejecutado desde el comienzo con furia (Finger) y con los presupuestos Lo-Fi siempre presentes (Caesar). La electricidad es también protagonista en temas como Girlfriend, Sad Fuzz o Melted. Un disco creado con una buena dosis de “locura” pero con no menos dosis de fuerza creativa y de intensidad.

Ty Segall – Melted (2010)

“San Fran garage-punker (and former one man bander) Ty Segall pens crackling classic-sounding rock’n’roll tunes about as lean and economical as they come, pushing his rangy shoutalong hooks so far forward there’s rarely room for pesky little details like verses. Although he’s thrown quite a few more colors into his instrumental palette in recent years, he’s still mostly working way out in the red, leaving nuance to others. Melted, his latest, boasts a 30-minute runtime that feels closer to 15. Segall gets in, gets out, and gets it done nearly every time.
Melted kicks off with quite the 1-2-3-4 punch: the swarming “Finger”, the strummy “Caesar”, the bopalong “Girlfriend”, the two-faced “Sad Fuzz”. Each tune spends a little time getting situated then settles into a wide-eyed amphetamine groove, levels well blown out, Segall’s slack, bratty howl smeared liberally over top. “Girlfriend” in particular feels snappy and effortless. Segall’s not taking much time figuring out how to beef up his sound, and while just about everything’s bathed in the same warm haze and power trio crackle, he manages to jam the odd nooks and crannies of these straightaway songs with a little squiggly sci-fi guitar, barrelhouse piano, recorder, even the odd vocal collage. Segall’s made some fine music in the past, but it’s always felt a little hit-or-miss on an LP level, with hooks buried by freneticism and too little emphasis on his natural talent as a singer. Melted seems in some ways like his first proper record– he’s in control of every element of his sound on these first four rippers.
Melted gets a little soft in the middle, its title track lost in a sea of haze, “Mike D’s Coke” coming off almost like a third-rate Ariel Pink number. The tracks exhibit a little more range than his Buddy Holly/early Kinks/Ramones triangulation, but they don’t hit as hard, slowing the record’s momentum. But things pick up rather nicely from “Imaginary Person” on out, riding a wave of sweaty insistence on through to the all-too-hasty end. “Imaginary” is a beast, clattering for a spell before breaking into a surfy chug. “My Sunshine” bakes and “Bees” floats by, but it’s the muddy blues of “Mrs.” that really leaves its mark, a murder ballad in the “Hey Joe” mold that Segall slows down just long enough to completely kill.
You’re not going to hear many rock records that’ll kick you square in the pants quite like this one this year, provided Segall doesn’t up and crank another one out by December; the kid’s got heart, brains, and quite an ear for a hook, and he throws himself body and soul into these tunes. Segall makes quite an impression in half an hour’s time, and Melted’s the best foot he’s put forward yet. It still seems like his best records are ahead of him, like he’s still got a couple of things to nail, but as it stands, Melted could charm the sweat out of anybody”

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