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Slaughterhouse is his best.įrom the sea of distorted feedback that begins opener “Death” to the army of noise comprising the 10-minute closer “Fuzz War,” Slaughterhouse is a dirty, nasty album. Segall has released lots of music over the past couple years in a myriad of styles with several different ensembles. In other words, it’s a familiar, yet relentlessly individualistic addition to this year’s string of rock-your-socks-off albums. Slaughterhouse is a high-octane tour de force, a record that sounds as if its elements were thrown together like lost strangers in a midnight train station, yet at the same time presents a unified artistic vision, one that testifies to careful planning and supreme confidence on the part of its creator. While the ubiquity of immediate, loud, garage-like rock in today’s indie market may be viewed as a welcome change of pace from other recent trends, especially the tendency towards the atmospheric, the electronic and the chilled, there’s always a danger that we might get too much of a good thing.Įnter the always prolific, always slightly-off-kilter Ty Segall.
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Japandroids, Cloud Nothings and The Men, among others, have released high-profile albums drowned in crunchy distortion and good ol’ punk-inspired grooves that shake the listener to the core. We’re only halfway through 2012, and already it has been proclaimed as the year of records that just flat-out rock. If you still love rock ‘n’ roll-dang!-this has been quite the year for it.