Ty Segall & Co. go to war armed with trippy psychedelic fuzz and deadly riffs.
Psychedelic garage and indie rock legend Ty Segall released Chrome on August 28, 2026, taking an unexpected approach to his musical style. Segall explored influences ranging from folk rock to synth-core, keeping an open mind about sonic possibilities. However, Chrome takes a trip into the trenches of fuzz-heavy psychedelia, digging into his early roots.
“Hospital” opens up the album’s psychedelic character with a slow, trippy electronic loop before a fuzzed-out bass enters, accompanied by a wailing guitar. Ty’s bluesy verse vocals cut through the band’s hypnotic riff. The electronic loop, guitars, drums and vocal overdubs add a beautiful quality to the song, as does the laid-back middle-eight section.
“Running to Nowhere” paints a picture of what a war fought with fuzz would sound like. A fuzzed-up guitar begins the riff, layered with a heavy bass, while the drums pound as if they owe the drummer money.
Moments of call-and-response arise between aggression and calm, as the aggressive “Now We’re Nowhere” clashes with the calmer themes of healing and rebuilding.
A calmer feel emerges in “Black Paint,” a straightforward track centered on love, loneliness and grief. It presents a grungier side of the record, reminiscent of Pearl Jam: heavy riffs in the verses, a mellowed-out pre-chorus, then a very heavy guitar solo before it drops back into a catchy chorus and ends immediately.
“Glass” follows, though the second half takes on a slower, more melancholic feel. Lyrically, although it’s literally about trapping a fly in a drink, the melody’s dark mood and repetition of “you’ll never fly away” cry out themes of isolation and obsession.
The band comes alive on “Play Cowboys.” A catchy guitar riff, an active, groovy bass and swinging drums, along with Segall’s voice, capture its alternative charm. This carries into “Everything You’ve Been” with a quicker tempo and distorted rhythm section, while a later piano solo smooths out the rhythm section.
“Let Go” fires into a more garage-punk feel with a fuzzed-up bass, quicker tempo and an erratic guitar solo that shines near the end as Segall delivers one of the record’s catchiest choruses. That garage-punk feel continues in “Separation”: a steady groove, rapid drums, fuzzed-up bass and a distorted guitar solo.
The closer, “Chrome,” is a mostly repetitive instrumental jam session, except for Segall’s wailing chorus: “when I died, I was alive, yes but I died,” followed by the main riff. A distorted, wailing lead guitar cuts in, showing psychedelic and punk influences, with a scream before Segall ends with the chorus.
Overall, Chrome has a more distorted, fuzzy, and aggressive sound that traces back to Ty Segall’s heavy roots. Experimentation with fuzz and distortion shines through the arrangements that complement his lyrics on isolation and healing. The band has its own moments, showcasing their hypnotic grooves beneath Segall’s rhythm guitar. Despite the distortion and fuzz thrown at the listener, Chrome doesn’t become repetitive, finding other ways to showcase its fuzz-heavy sounds.
