Ty Segall
Chrome
Albüm · Indie Rock · 2026 · Drag City · Yeni çıktı! Şimdi dinle
Ty Segall has spent much of the 2020s indulging his every whim, be it synth experiments (Harmonizer), labyrinthine prog-folk double albums (Three Bells), or instrumental records made entirely with percussion (Love Rudiments). So, on first contact, the compact Chrome scans as a return to in-the-red, high-voltage guitar rock on which Segall first built his brand at the turn of the 2010s.
However, the record is as much a progression as a regression, fusing the feral energy of old with the increasingly sophisticated songcraft he’s honed over nearly two decades in the game. Tracks like “Running to Nowhere” and “Everything You’ve Been” rev up with the sort of accelerated proto-metal riffs that would’ve been right at home on his 2012 monsterpiece Slaughterhouse, but they prove to be decoys for the disarmingly melodic jangle-hooks tucked into the eye of the storm.
And while “Glass” initially retrofits the robotic groove of Gary Numan’s classic “Cars” for a ’90s-Seattle mosh pit, the song suddenly falls through a trap door into a slow-motion stoner-rock jam where Segall peels off a stargazing solo that reaffirms this former punk prankster’s evolution into a bona fide guitar god.
Our Favorite Track: “Black Paint,” a blast of sunshine and sludge where Segall stakes his claim to Kurt Cobain’s grunge-Lennon legacy.
However, the record is as much a progression as a regression, fusing the feral energy of old with the increasingly sophisticated songcraft he’s honed over nearly two decades in the game. Tracks like “Running to Nowhere” and “Everything You’ve Been” rev up with the sort of accelerated proto-metal riffs that would’ve been right at home on his 2012 monsterpiece Slaughterhouse, but they prove to be decoys for the disarmingly melodic jangle-hooks tucked into the eye of the storm.
And while “Glass” initially retrofits the robotic groove of Gary Numan’s classic “Cars” for a ’90s-Seattle mosh pit, the song suddenly falls through a trap door into a slow-motion stoner-rock jam where Segall peels off a stargazing solo that reaffirms this former punk prankster’s evolution into a bona fide guitar god.
Our Favorite Track: “Black Paint,” a blast of sunshine and sludge where Segall stakes his claim to Kurt Cobain’s grunge-Lennon legacy.
Chrome
Ty Segall
Ty Segall has spent much of the 2020s indulging his every whim, be it synth experiments (Harmonizer), labyrinthine prog-folk double albums (Three Bells), or instrumental records made entirely with percussion (Love Rudiments). So, on first contact, the compact Chrome scans as a return to in-the-red, high-voltage guitar rock on which Segall first built his brand at the turn of the 2010s.
However, the record is as much a progression as a regression, fusing the feral energy of old with the increasingly sophisticated songcraft he’s honed over nearly two decades in the game. Tracks like “Running to Nowhere” and “Everything You’ve Been” rev up with the sort of accelerated proto-metal riffs that would’ve been right at home on his 2012 monsterpiece Slaughterhouse, but they prove to be decoys for the disarmingly melodic jangle-hooks tucked into the eye of the storm.
And while “Glass” initially retrofits the robotic groove of Gary Numan’s classic “Cars” for a ’90s-Seattle mosh pit, the song suddenly falls through a trap door into a slow-motion stoner-rock jam where Segall peels off a stargazing solo that reaffirms this former punk prankster’s evolution into a bona fide guitar god.
Our Favorite Track: “Black Paint,” a blast of sunshine and sludge where Segall stakes his claim to Kurt Cobain’s grunge-Lennon legacy.
However, the record is as much a progression as a regression, fusing the feral energy of old with the increasingly sophisticated songcraft he’s honed over nearly two decades in the game. Tracks like “Running to Nowhere” and “Everything You’ve Been” rev up with the sort of accelerated proto-metal riffs that would’ve been right at home on his 2012 monsterpiece Slaughterhouse, but they prove to be decoys for the disarmingly melodic jangle-hooks tucked into the eye of the storm.
And while “Glass” initially retrofits the robotic groove of Gary Numan’s classic “Cars” for a ’90s-Seattle mosh pit, the song suddenly falls through a trap door into a slow-motion stoner-rock jam where Segall peels off a stargazing solo that reaffirms this former punk prankster’s evolution into a bona fide guitar god.
Our Favorite Track: “Black Paint,” a blast of sunshine and sludge where Segall stakes his claim to Kurt Cobain’s grunge-Lennon legacy.
