Musical Diversity, from Clapping to Singing Children
Ecclectic singer and musician, Ty Segall, recently built upon his extensive discography with the release of Emotional Mugger. With the collaboration of several of his regular accompanists, he has created an album that strings together many musical tones and instruments.
“Squealer” opens the album with a mix of beautiful guitar work, dissonance, and bullet-like electronic elements. The track is squeaky at times, while marching along to power chords. The end of this song and beginning of “California Hill” are nearly indistinguishable, for after a brief silence, the instrumentation of the second song continues in a pattern similar to the first, as do Segall’s vocals. The conclusion of the second track picks up the pace and intensity, however, culminating in rapid-fire notes and hammering chords that cease with an echoing reverberation.
Unlike the first two, track three, “Emotional Mugger/Leopard Priestess” stands firmly apart. An interesting combination of two different movements, the song is distinctly modern. Segall’s voice varies from sounding high, to the point of being almost shrill, and coming across as low and gravelly.
“Breakfast Eggs” is a repetitive song, with a chorus of “Candy, I want your candy.” The chords feel a bit like they are beating listeners over the head with the same pattern. However, “Diversion” incorporates interesting chord alterations, but its opening notes are screeching and irritating. These notes periodically reappear throughout the track. Some of the grating elements continue into “Baby Big Man (I Want a Mommy),” although this track overall has a very different, slower tempo.
“Mandy Cream” has a fun sound, with some retro elements and a poppy, laid-back rhythm. A similar flare continues with “Candy Sam,” although the latter has a heavier, more metallic tone. It’s conclusion is very playful, though, with whistling and the singing voices of children.
In a sequel to the opening track, “Squealer Two” does not have identical melodies or rhythms as its predecessor, but it does similarly have some flares of dissonance, especially at its conclusion. The vocals, at this point, become particularly shrill and distinct.
“W.U.O.T.W.S.” begins after a pause, but sounds almost like an excerpt of the prior track. Tuning in through static, like a radio with a bad signal, the song eventually emerges, only to fade in and out several more times, finally with several tracks vying for the spotlight.
The concluding track, “The Magazine,” combines humming, heavy bass chords, slow vocal progressions, and rapid clapping. In this way, it brings this eclectic album to a finish.
All in all, Emotional Mugger is an album for listeners with a very specific taste, as each song is distinctly characterized by Segall’s vocal style and very quirky instrumental elements.
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