Cory Hanson (vocals and guitar), Daniel Martens (guitar), Evan Burrows (drums) and Lee Landey (bass) formed the fuzzy-guitars-fueled psychedelic band Wand two years ago in Los Angeles. And, mentored by Ty Segall, they’ve been pretty busy ever since: Their debut LP, Ganglion Reef, came out in 2014. “The Los Angeles four-piece have a true sense of something shuddersome and darkly penetrating oozing through their absorbing debut,” proclaimed the Quietus. “Wand’s resultant mixture of the frenetic and the smooth is intoxicating.” Not to be outdone, the band (above, frontman does “1000 Days”) found the time to release a pair of full-lengths this year. The heavier Golem (stream it below) arrived first, back in May. And according to AllMusic, it “cuts out anything folky, paves over some of the fragile psych weirdness, and instead piles on the heavy, heavy noise, stomping into protoplasmic Black Sabbath territory at times.” In late September, 1000 Days came out, impressing the Los Angeles Times: The “album mixes tripped-out psychedelia, glam and rock with washes of analog electronics to create a wonderful retro-futuristic mess…. If 1000 Days sounds schizophrenic on paper, it all comes together when heard at full volume.” And you can hear Wand at high volume when they play The Bowery Ballroom tonight and Rough Trade NYC tomorrow night.
Tag Archives: Ty Segall
Thee Oh Sees – The Bowery Ballroom – September 8, 2015
When you see Thee Oh Sees live you’re obligated to tell five others about how they have to see the band perform live. There must be some type of Ponzi scheme at play here—I can’t count how many people had given me this advice. Or perhaps it’s just that Thee Oh Sees really are insanely good live. Easy but awful pun about the group’s name aside, they are simply a must-see band. Originally from San Francisco, but currently based in Los Angeles, Thee Oh Sees, loosely tied to the same punky ecosystem that gave us Ty Segall and his never-ending list of side projects. They’ve existed in many iterations, but always include guitarist-frontman John Dwyer, who’s currently on tour with bassist Timothy Hellman and two incredible drummers who sit center stage, Ryan Moutinho and Dan Rincon, more often then not hammering the same beat at a breakneck pace.
Thee Oh Sees lined The Bowery Ballroom’s stage last night with each member right up at the very front, jutted up against a crowd of pogo-ing mops of hair. There was barely enough room at the lip of that stage that, when ambitious crowd members decided to climb the stage and crowd surf, they had about an inch of space to balance before falling back into the hands of the audience, as if confronted with some invisible force-field of rock that tossed them back. The two drummers gave Thee Oh Sees’ psych-rock punkiness a notably hardcore edge. Take the set-opening “I Come from the Mountain” for example. They built up momentum so fast it was almost as if everyone else was running to keep pace. Not that anyone was speeding up, it was just that they were all fighting the human limits of how fast one could possibly play, similar to how they all lined up on the stage. It’s like in cartoons, when cars or trains go so fast that they inevitably start to disintegrate or fall apart. That’s the speed at which Thee Oh Sees play, but there’s never any falling apart.
With the two drummers in the middle of the stage, pounding a uniform beat, it kept Dyer and bassist Hellman chained to it. But take everyone else away and Dyer was incredible to watch on his own, responsible for a lot of sound for just one man, noodling at his guitar that’s at nipple height, yipping into his microphone, grabbing the microphone stand and dragging it over with him to his synth keyboard, other times feeling the intensity and just hounding at his guitar. Dyer also spits an awful lot, sometimes just hocking skyward loogies up at a straight angle. For the pace and intensity that this band plays, one might expect a short set, but Thee Oh Sees kept playing for as long as the audience could take it. For anyone with energy for more, they’ve got two more chances to see Thee Oh Sees this week at Warsaw. Plenty of time to tell five friends about how damn good they were. Keep this Ponzi punk-rock scheme rolling. —Dan Rickershauser | @D4nRicks
Tags: Bowery Ballroom, Dan Rickershauser, Dan Rincon, John Dwyer, Live Music, Music, Review, Ryan Moutinho, Thee Oh Sees, Timothy Hellman, Ty Segall, Warsaw
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La Luz – The Bowery Ballroom – August 29, 2015
As the tail end of the summer is upon us, the Seattle-based surf-rock outfit La Luz rolled into New York City with their latest album, Weirdo Shrine, produced by Ty Segall. The gals’ sound harkens back to ’50s and ’60s doo-wop groups—like the Shangri-La’s and the Shirelles—distorted against fuzzy guitars. The perfect soundtrack for end-of-summer lazing around the beach or a backyard BBQ. It’s well told that the group had a near-fatal car collision on the highway while touring in 2013. That experience seems to have darkened their music a bit, and no doubt Segall’s production amplified its resonance. The quartet hit the deck of The Bowery Ballroom on Saturday night and launched beach balls into the crowd before commencing with a pair from their recent effort, “Sleep Till They Die” and “You Disappear.” With keyboardist Alice Sandahl and bassist Lena Simon harmonizing with lead Shana Cleveland, “Call Me in the Day” was a perfect shoop-shoop ditty that had onlookers bobbing along to the sway of their lilting voices.
In honor of the supermoon, Cleveland howled several times and later conferred with her bandmates to note the momentous celestial phenomenon with something special. In true Seattle rock tradition, the frontwoman requested the audience to form a crowd-surfing line as several fashionistas took turns going down the runway. The evening continued with choice tunes, as Simon’s bass opened “With Davey” and a trail of ooo-wahs soothed on “Damp Face.” A request to activate the disco ball on the morose lullaby “What Good Am I” wasn’t granted, however the virtual supermoon for the evening illuminated the night. Playing new material, Cleveland noted “Believe My Eyes” was a recent release on a split 7″ with openers Scully. Along with the lunar event, Simon paid homage to Michael Jackson’s birthday with the first few basslines of “Billie Jean.” Folks were hoping for a cover but instead were offered fave “Big Big Blood.” The ladies happily returned for an encore of “Clear Night Sky” and “Brainwash.” The yelps on the last song punctuated the evening’s close, leaving nothing more to be desired except maybe some sand and surf. —Sharlene Chiu
Tags: Alice Sandahl, Bowery Ballroom, La Luz, Lena Simon, Live Music, Michael Jackson, Music, Review, Scully, Shana Cleveland, Sharlene Chiu, the Shangri-La’s, the Shirelles, Ty Segall
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A few years ago, Carlotta Cosials (vocals and guitar) and Ana Perrote (vocals and guitar) teamed up to make music in Madrid. And after posting two songs to their Bandcamp, publications and other musicians began to take notice in 2014. So the duo became a quartet with the addition of Ade Martin (bass) and Amber Grimbergen (drums), under the name Deers. But due to recent legal pressure from a similarly named Canadian band, the Spanish group has become Hinds (the plural form of another word for a female deer). Inspired by the likes of Ty Segall and Black Lips, Hinds (above, performing “Bamboo” live for 3FM) are party starters, always looking for a good time. “We want to play the music that we enjoy listening to,” Cosials tells NME. “When we try to write a sad song we always have it going well for a bit, but then someone will come into the room and we’ll all start jumping around until it turns into a happy song. We can’t help it!” Thanks to their raucous live shows, the lo-fi garage-rock Spanish four-piece won over American fans with a very busy SXSW followed by a trip up and down the California coast. And now Hinds are coming to New York City to play the late show at Mercury Lounge tomorrow night.
Ty Segall – Webster Hall – September 17, 2014
“Did anybody lose a red shoe?” asked Ty Segall last night, the Webster Hall stage littered with lost items: a blue backpack, a handful of wallets, a boot, even a belt. With more people in the front row trying to crowd surf than hold up said crowd surfers, the venue had become one giant lost and found. What do you get when you have a sold-out Webster Hall audience collectively losing their shit? You get a lot of people, well, physically losing a lot of their shit. For anyone not familiar with Ty Segall at this point, he can best be described as some superhuman rock music–making machine. At 27, he’s already got seven solo albums to his name, plus another excellent one filed under the Ty Segall Band, several side projects and bands he’s involved with in one way or another. Segall has yet to put his name on anything subpar. He tours constantly. And with the energy he throws into performing, seeing him play live makes this output slightly more believable, further proof that there’s some supernatural rock music life force coursing through his veins.
Segall, who came out wearing the same glam makeup he wore on his latest appearance on Conan, was joined by longtime collaborator—and accomplished solo artist—Mikal Cronin on bass, Charlie Moonheart on guitar and Emily Rose Epstein on drums. Everyone besides Segall sporting waist-length hair made their collective head-banging a glorious spectacle. They opened with the title track off Segall’s latest album, Manipulator, and continued checking off most of its songs. Three tunes in, the barricade separating the audience from the stage began showing signs of giving out, with five security guards doing their best to keep it together. And then two songs later, Segall announced that they were going to pause so they could get the barricade out of there, thus beginning the endless crowd surfing.
For his guitar solo on “The Faker,” Segall joined the surfers, walking out onto the crowd’s hands Iggy Pop style to rip his face-melting guitar solo right into his fans’ faces. But the best crowd surf of the night was courtesy of the band’s “manager,” Jimmy Longhorn— prior to the show, he declared that the band was from Jupiter—who came out asking people to carry him to the bar on the opposite side of the venue and back, and they happily complied. “Caesar” brought out a bunch of folks from backstage into the audience. Shows don’t usually get this out of control. Musicians don’t usually release this much quality music this fast. Concerts don’t usually sustain such a high level of energy. Those in the crowd aren’t usually that willing to give it their all. But maybe this band really is from Jupiter. —Dan Rickershauser
Led by founding members vocalist Chris Shaw and drummer Michael Peery, Ex-Cult combine ’60s noise rock, ’70s post-punk and ’80s hardcore into their own updated garage-punk sound. The Memphis five-piece (above, playing “Don’t Feel Anything” for Rocket Science Audio) released their Ty Segall–produced debut self-titled album (stream it below) in 2012. According to AllMusic, it sounds “tough, nasty and reckless, just like a good punk band should, but an unholy variety of sounds bubbles beneath the surface of the 12 tunes.” Their follow-up, Midnight Passenger (stream it below), arrived last month. And again AllMusic weighed in with praise, saying the second LP “is leaner, fiercer and decisively to the point” and “if Ex-Cult suggested they were one of the best new punk bands in Memphis, Midnight Passenger demonstrates they’ve moved a few notches up the ladder.” See them play the late show at Mercury Lounge on Thursday night.
Ty Segall – Music Hall of Williamsburg – August 29, 2013
It’s been a quieter-than-usual period for the ever-prolific Ty Segall, in part due to some personal problems that have been the impetus behind his latest release, the more hushed and intimate Sleeper. His set list last night at Music Hall of Williamsburg focused mostly on the new album, filling out the first half of his set with almost every song from it in chronological order. Given his insane musical output, it’s interesting to note what remains the same in his sound as he takes a slight stylistic shift, what falls in the middle of that Venn diagram comparing his past work to his present. The impassioned pleas of his singing voice, the all-too-catchy guitar hooks and that seemingly God-given ability to pump out perfect pop melodies are all still there.
So what’s changed? Well, in the very least, last night, electric guitars were replaced with acoustic ones. The band opted for sitting down, and the drum kit was stripped down to a three-piece set, if used at all. And if you listened carefully, you might notice that Segall’s lyrics were a little more personal and pulled from a much deeper part of that emotional psyche reservoir that’s every great musician’s reliable muse. Those feelings were probably most palpable during the last refrains of “She Don’t Care,” a song likely drawn from a recently fractured relationship with his mother and the death of his adoptive father.
Segall’s second half of the set included a short list of songs that are fast becoming his list of go-to hits, including “Caesar,” “You’re the Doctor” and “Girlfriend.” “You’re the Doctor” still included its piercing guitar solo, which on the acoustic guitar sounded particularly impressive, showcasing Segall’s remarkable command over the instrument, be it electric or acoustic. There were several times in the show that, were you too close your eyes, you’d have little idea that this was an acoustic set. So much loud fury and passion was being thrown out that the audience was moshing and crowd surfing for the majority of the second half of the show, not an easy thing to inspire via acoustic guitars. Perhaps some day Ty Segall will put out a mediocre album, but with each new release, I doubt it more and more. We’ll have to see in a few months when his next one comes out (seriously, another one is due in October). While it’s certainly possible, it’s seemingly improbable. —Dan Rickershauser
Photos courtesy of Peter Senzamici | petersenzamici.com
The always-busy Ty Segall is out on the road playing his acclaimed new album, Sleeper, and his only East Coast stops are at Music Hall of Williamsburg on Thursday and The Bowery Ballroom on Friday. Both shows are sold out. But we’re telling you there’s a chance that you could still attend ’cause we’re giving away two tickets to see him at The Bowery Ballroom. Want to go? Try to Grow a Pair from The House List. Just fill out the form below, making sure to include your full name, e-mail address, which show you’re trying to win tickets to (Ty Segall, 8/30) and a brief message explaining your best plan for the remaining 25 days of summer. Eddie Bruiser, who’s looking for some good ideas, will notify the winner by Friday. Good luck.
More than four years ago, vocalist Orville Bateman Neeley III, guitarist Andrew Cashen, drummer Matt Hammer, bassist Graham Low and guitarist Jason Smith teamed up in Austin, Texas, to form the garage-punk outfit OBN IIIs. They immediately began winning over concertgoers with their high-energy live shows and have since released a pair of well-received albums, The One and Only in 2011, and an eponymous follow-up (stream it below) a year later. But, of course, the best way to experience OBN IIIs is in person.
Led by founding members vocalist Chris Shaw and drummer Michael Peery, Ex-Cult combine ’60s noise rock, ’70s post-punk and ’80s hardcore into their own updated garage-punk sound. The Memphis five-piece released their Ty Segall–produced debut self-titled album (stream it below) last year. According to Allmusic, it sounds “tough, nasty and reckless, just like a good punk band should, but an unholy variety of sounds bubbles beneath the surface of the 12 tunes.” See for yourself when, along with OBN IIIs, they play the late show tonight at Mercury Lounge.
Tags: Andrew Cashen, Chris Shaw, Ex-Cult, Graham Low, Jason Smith, Matt Hammer, Mercury Lounge, Michael Peery, OBN IIIs, Orville Bateman Neeley III, Preview, The One and Only, Ty Segall, Video
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He’s only 25, but based on his prolific output, you’d be excused for thinking Ty Segall is much older. The singer-songwriter (and guitarist and drummer) was a part-time musician until 2008, when things exploded for him musically. Since then he’s put out several solo LPs, including 2011’s Goodbye Bread, and he’s worked on albums with Epsilons, Party Fowl, the Traditional Fools, the Perverts and Tim Presley’s distortion-heavy, psychedelic-influenced White Fence. Segall (above, doing “Thank God for Sinners” on Conan) has also collaborated with Epsilons’ Mikal Cronin, and just recently their album, Reverse Shark Attack (stream it below), which came out on vinyl in 2009, received a wide release. With all of that to keep him busy, it’s surprising Segall has time to tour. But, fortunately, he seems to do it often. And as his most recent one winds down, the wunderkind comes to town for two shows. Tonight at Webster Hall is sold out, but you’re in luck because he also plays Music Hall of Williamsburg tomorrow night.
Tags: Epsilons, Goodbye Bread, Mikl Cronin, Music Hall of Williamsburg, Party Fowl, Preview, Reverse Shark Attack, the Perverts, the Traditional Fools, Tim Presley, Ty Segall, Video, Webster Hall, White Fence
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Ty Segall/White Fence – Webster Hall – May 16, 2012
If Bob Dylan had fronted the Grateful Dead in 1965 and they’d been a garage band, it might have sounded like White Fence did last night. It’s less amazing that this is the band’s sound rather than the fact that here in the present, Webster Hall was packed with an energetic crowd to hear them play. White Fence is Tim Presley’s newest project, which has put out two full-length volumes this year called Family Perfume. Live, these short ideas of songs became quick explosions of sound: psychedelic guitar riffs with the duration and energy of punk music. That angry edge carried over to those in the crowd who slammed, surfed and bounded with energy while dodging beer, water and empty cups. As the set developed, the songs evolved, with longer, more thoughtful guitar solos often swallowed by a gargantuan bass-and-drums rhythm section.
White Fence and the headliner, Ty Segall, recorded an album, Hair, together, and the interlude between their sets was a couple songs from the album. Definitely the highlight of the evening, it was a fully coherent hybrid of Presley’s energized psych and Segall’s thrashing punk. Before they built any momentum, Segall took full control with his band, delivering relentless adolescent rock and roll, urging on the audience. Crowd surfers and stage divers found encouragement in clean but frenetic guitar and wild-animal bass. Segall’s persona seemed too nice for the reaction his music was getting. He turned an errant plastic cup into an impromptu hat that impossibly stayed put while he offered another flamethrower guitar solo. Then, with utter sincerity, he said it was “the best show we played ever.” —A. Stein
For such a young guy, Ty Segall is a busy dude. The singer-songwriter, who plays guitar and drums, was a part-time musician until 2008, when things exploded musically for him. Since then he’s put out several solo albums, including last year’s Goodbye Bread, and he’s worked on discs with Epsilons, Party Fowl, the Traditional Fools, the Perverts and Mikal Cronin. That would be enough for most people. But this year alone Segall has already put out Hair, an album with Tim Presley’s distortion-heavy, psychedelic-influenced White Fence, and he intends to release Slaughter, recorded with his touring band, in June, before putting out another disc later in the year. With all of that to keep him busy, it’s surprising Segall (above, doing “Scissor People” for Room 205) has time to tour. But fortunately he does, and you can see him playing with White Fence (separately and together) tomorrow night at Webster Hall.
Tags: Epsilons, Goodbye Bread, Hair, Mikal Cronin, Party Fowl, Preview, Slaughter, the Perverts, the Traditional Fools, Tim Presley, Ty Segall, Video, Webster Hall, White Fence
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