[rating=9.00]
Ty Segall has been a bat out of hell since he first came on the scene a decade ago, and he’s shown no signs of slowing down, releasing at least one studio record a year for 10 years straight (among countless other projects, singles and EPs). 2017 saw his self-titled release with the Freedom Band, and this year brings us its follow-up, Freedom Goblin, and to say it’s nothing like anything we’ve ever heard from him feels like the understatement of the century. Segall has always exercised his creative freedom by drawing on a wide range of influences, but he’s increasingly moved more toward a glam rock sound from his previously punk-heavy aesthetic. The guitar shredding has gotten more dramatic, and his vocals more prominent and wilder. He’s grown exponentially since his early garage rock days, evolving with each record. But Freedom Goblin might be his most fully formed evolution yet.
Across a robust 19 tracks (it’s a double album), Segall leaves no stone unturned, making for a playful mix of funk, glam, pop and soul. He hasn’t abandoned his signature guitar-heavy style, but we get a much more solid taste of his singing voice on Freedom Goblin and it doesn’t disappoint. He is uninhibited and raw, whether he’s hitting high notes on his cover of Hot Chocolate’s “Every 1’s a Winner” or belting out the poppy, melodic chorus of the excellent album opener “Fanny Dog”. “My Lady’s On Fire” is a rare acoustic tune from Segall, and conjures up images of Big Star. It’s one of Freedom Goblin’s best, and when the saxophone jumps in during the home stretch you’re so fully on board with this new Segall, whatever he is.
Freedom Goblin is a blast. Listening all the way through is being rewarded with endless surprises. Segall gives himself no boundaries or rules with these songs, bouncing off the walls in a million different directions. His wife pops up on “Meaning” screaming grungy, punk vocals amidst a tangle of frenetic guitars. He alternates between crazed rock lunatic and smooth, cool Beatles-esque popstar, with hints of Bowie and countless other classic rock influences in between. But through it all, we still cannot pin him down, which means he is, more than ever, distinctly himself.
