Ty Segall – ‘Three Bells’ album review: an ominous blend of acoustic instrumentation and glorious abrasion
THE SKINNY: Ty Segall is a modern-day psych-garage god, consistently popping out albums under his name and various side projects that only dedicated fans can seem to keep up with. While some of his records are invariably better than others, Segall’s ability to consistently release interesting records while always maintaining his distinctive sound has gained him a dedicated following.
Three Bells is his 15th solo album, following 2022’s Hello, Hi. Much of this previous record is based around an acoustic guitar, only occasionally dipping into heavier territory. Segall has always had a penchant for these lighter moments, but for Hello, Hi, he took it all the way. On Three Bells, Segall weaves between these quieter moments with his signature garage-rock abrasion that older fans will greatly appreciate.
The result is a mixture of tracks that often build up to an explosion of gritty instrumentation, which is instantly introduced with the opener, ‘The Bell’. However, there are various tracks that sound as if they are going to amount to something larger, impressive, and unforgettable… but they teeter off into safe, solid territory.
Still, there are many moments of genuine excellence on Three Bells that remind us of why Segall is regarded so highly – and will undoubtedly be remembered as an alternative rock hero in years to come. From the ominous tones of ‘Void’ to the surreal, nightmare-inducing experience of ‘Eggman’, the album is often brilliantly unsettling. Blending controlled chaos with moments of stability, Segall utilises his instruments effortlessly, although you can’t help but feel like the album is a few songs too long.
For fans of: Staying inside, watching old cheesy horror movies on VHS tapes; crap weather; that impending sense of doom you get when you realise you’ve run out of clean underwear; obscure 1960s garage rock bands.
A concluding comment from Tom’s mother: “Now there’s a gentleman with a messy bedroom if I’ve ever heard one. A chaotic affair, lots of talent, but just needs tidying.”
Three Bells track-by-track:
Release Date: 26th January | Producer: Ty Segall, Cooper Crain | Label: Drag City
‘The Bell’: The presence of playful drum beats commands interest instantly. However, with that being said, the song takes a while to truly turn into something special. After a rather slow build, the song descends into really good garage-infused chaos that makes it worth the wait. [3.5/5]
‘Void’: There’s a sense of uneasiness to the strings that open ‘Void’, which suggests the feeling of walking through a vast countryside landscape with a mysterious sense of danger clawing at you, as though a car could appear in the distance and disrupt your sense of security. [4/5]
‘I Hear’: Soaring guitars, which evoke the sound of someone screeching in pain, create a disquieting atmosphere on ‘I Hear’, although there is a lighter melody and cheerful riff that punctuates the song, making for a complex contrast. In the best way possible, the song is an intricate mess. [3.5/5]
‘Hi Dee Dee’: Segall continues to use sharply angular guitar parts that have a shrieking quality on ‘Hi Dee Dee’, also allowing his voice to take on a more operatic nature. A steady bassline anchors down the jolting guitars – it is good but could easily become tiresome after a few listens. [3/5]
‘My Best Friend’: Segall’s incredible talents as a guitarist shine through on ‘My Best Friend’. It often feels like his guitar is a second vocalist, fighting its way to dominate Segall’s voice. [3/5]
‘Reflections’: The very beginning of this track moves with the same slack rhythm as ‘Lowdown’ by Wire, harking back to the days of late ‘70s post-punk. Sadly, the song is one of Three Bells’ more forgettable moments. [2.5/5]
‘Move’: Segall’s wife, Denee, whom he has collaborated with in the past under the name The C.I.A., provides vocals on this one – and it’s really good. Her sultry vocal style fits perfectly against the abrasive guitars. [4.5/5]
‘Eggman’: Released as a single, the song is easily the most sing-along friendly, although if you watch the music video, your memory of the track will be tainted by the image of Segall scoffing eggs into his gob. [4/5]
‘My Room’: I would argue that this is one of the album’s more forgettable moments, although it is still a nice, lighter track in its own right. The guitars that dominate the last third of the song are finely crafted and almost bittersweet. [3/5]
‘Watcher’: Similar to ‘The Bell’, the song starts rather slowly, threatening to become skippable, before devolving into something spectacular. Segall allows his instruments to melt into a haze of smokey, sludgy noise before pulling them back out like a ship rescued from a storm, an island on the horizon. [3.5/5]
‘Repetition’: Segall does just what the title suggests and repeats the name of the track, all while a noise that sounds like a fly buzzing loudly in the recording studio ebbs in and out. It’s definitely one of the album’s weaker, perhaps unnecessary songs. [2.5/5]
‘To You’: If you’re going to dance to any song on the album, let it be ‘To You’. It is the most fun offering on the record, with noises that shoot across the soundscape with an arcade-game quality. By the second half of the song, you can’t help but feel like Segall sounds a little bored of singing, preferring to turn his attention to the potential of his instruments. [3/5]
‘Wait’: After an acoustic-led beginning, Segall takes us on an explosive garage-rock odyssey with stop-start rhythms that tease an even bigger explosion. “To the place where the music’s louder,” he sings, teasing the song’s imminent impressive final act. [4/5]
‘Denee’: Named after his wife, ‘Denee’ opens with Segall sweetly singing her name, allowing more jazz influences to sweep in, such as shuffling percussion and keys. It makes a nice change from the abrasive guitars that define the record, proving the musician’s ability to master a range of sounds. [3/5]
‘What Can We Do’: The album’s final song is a gentler number, led by acoustic guitars and Segall’s high-pitched harmonies acting as a defining instrument. It would have been nicer to end the record on a better, more showstopping track, but hey, ho. [3/5]
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