Ty Segall – ‘Possession’ album review: a slight sacrifice
THE SKINNY: It’s hard to keep up with Ty Segall. Drenched in fuzz and soaked in a sense of raw ambition – the kind that carried the DIY rockers of the 1960s to greatness – Segall’s early work led the garage-rock revival of the 2010s, and while he hasn’t stopped since then, his sound has significantly shifted. With Possession, his sixteenth album, Segall lays down a refined palette of string arrangements, melodic vocals, and bluesy guitars, showing distinctive maturity since the days of Melted and Goodbye Bread.
It has been interesting to witness Segall’s progression over the years, with his style weaving in and out of genres like glam rock, acoustic folk, psychedelia, and prog. In recent years, he has moved further away from the lo-fi sound that defined much of his earlier work, instead journeying towards a sound that feels like a culmination of years of musical experimentation and perfectionism.
The great thing about Segall is his dedication to throwing ideas at the wall and seeing what sticks. This time around, it seems as though he has unlocked a new side of himself as a singer. He delivers many beautiful vocal performances on Possession, which isn’t half as demonic as the title suggests, although it does feel as though he has sacrificed some of the raw power that made him so coveted a decade ago.
Instead, there are a lot more melodic moments here, with Segall straying from the visceral intensity of previous releases. Still, there are many enticing guitar solos and classic rock influences to be found on the album – it’s not as though this is a completely new direction for Segall. Rather, it feels like a progression, an experimentation with prioritising his voice in a way he’s never done before.
Possession is a solid album, but there are certainly moments where you wish for something more from Segall – after all, we know he’s got it in him.
For fans of: Classic rock and being surprised.
A concluding comment from a 2000s garage-rock revival purist: “This isn’t the Ty Segall I once knew…”
Possession track by track:
Release: May 30th | Label: Drag City
‘Shoplifter’: Acoustic guitars and strings form the backing for this narrative-based track, with Segall telling us about a poverty-stricken woman who resorts to stealing as the divide between the rich and the poor continues to widen. It’s a surprisingly emotive track that stands worlds apart from the lo-fi fuzz of Segall’s early albums, but one that still possesses Segall’s quintessential acoustic folk influences. [3.5/5]
‘Possession’: With full production and thick electric guitars here, Segall welcomes greater instrumental experimentation, with a classic 1960s-inspired guitar solo closing the track. Fans of Segall’s heavier projects will appreciate the direction he takes on this one. [3/5]
‘Buildings’: Segall continues to show his melodic side on ‘Buildings’, where the gentleness of his vocals really shine. No one has ever doubted Segall’s vocal abilities (who can forget his glam rock riffs on ‘Feel’?), but he is quieter and more nostalgic here, and it makes for a beautiful listen. [4/5]
‘Shining’: The opening riffs send you straight back to the ‘70s, wailing in one ear like they’ve got a mind of their own as Segall delivers silky smooth vocals on top. ‘Shining’ evolves into a fuzzy world of instrumental bliss that calls back to his earlier sound while still sounding fresh. [4/5]
‘Skirts of Heaven’: There is a rather wholesome quality to this track, with brass sections creating a joyous atmosphere, while the repetitive chorus allows for easy singing along. [3/5]
‘Fantastic Tomb’: There’s a swagger to the guitars that open ‘Fantastic Tomb’ – sharp and pointed – which make way for a bluesy palette layered with brass and, of course, more swirling guitar riffs that will please any Segall fan. [3.5/5]
‘The Big Day’: The album starts to feel a bit same-y here. This is by no means a bad track, but you can’t help but wish Segall would go a little deeper, a little heavier, or a little more experimental. [3/5]
‘Hotel’: What feels like a rather standard track takes a slightly unnerving turn in the middle, with horror-esque strings threatening to destabilise the otherwise rather witful atmosphere that Segall has created. In doing so, Segall prevents the album from falling into utter predictability, but this burst of interest is short. [3/5]
‘Alive’: There is a real contrast between heaviness and softness here, with fast-paced drums and strings creating a rather chaotic but simultaneously exhilarating atmosphere. [3.5/5]
‘Another California Song’: Segall’s vocals are more pronounced on the closing track, and while the instrumentals are quite energetic, it’s far from abrasive, offering a more bluesy cut to round off the record. It’s a nice track, but you can’t help but wish for a bit more bite. [3.5/5]
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