It sounds like a weed-fried singer/songwriter crafting songs and leaving them to sit outside for weeks during the kind of California summer that starts forest fires.

Although much of his early solo work up to Lemons, his debut LP for Goner Records, was steeped in the caveman stomp tradition belonging to the garage-rock subgenre, Segall was assuredly finding his voice as a classicist rock and roll songwriter.įor his third solo album in 18 months, Segall enlisted the engineering prowess of Eric Bauer - a fruitful collaboration ongoing to this day - and the musical talents of a solid handful of friends to create somewhat of an anti-masterpiece, an unforgettable collection of cracked, off-center rock and pop tunes recorded mostly on the first take.Īlbum titles don’t often spell out what a record is about musically, but it’s tough to point out a description more apt than Melted when listening to Segall’s breakout third solo record. After earning a degree in media studies, Segall - born to an artist and a drummer in 1987 - continued to play music and built hydroponic grow shelves almost a decade before cannabis was legalized in California. This was around the time Segall serendipitously ended up playing the first of his one-man band sets, clubbing his way through fairly rudimentary but super fun garage-rock songs on guitar and drums simultaneously.ĭwyer’s delight seeing a very young Segall playing his distinctive strain of garage-punk resulted in his (first) self-titled solo record, released on Dwyer’s Castle Face Records and again on cassette through vaunted garage label Burger Records. As legend has it, psych/garage/art-punk lynchpin John Dwyer - at this point in time, a longtime San Francisco resident - caught a Traditional Fools set and saw their drummer play with a stick lodged in his cast, pounding away at his kit with a fractured arm. He was a record store regular, playing music in bands (like Episilons, with longtime friend and sometime collaborator Mikal Cronin, a very talented musician in his own right).Īfter moving north to San Francisco for college, Segall quickly became a fixture in the city’s quickly growing and historically weird garage-rock scene, playing in damn near half a dozen bands as well as writing and recording his own songs. Long before settling into a very productive career as one of underground(-ish) rock music’s brightest and most singular talents, Ty Segall was a child surfer, a self-described teenage drunk, a foil for for the unscripted MTV series that made his hometown of Laguna Beach a rich kid punchline instead of the haven for hippies and artists he knew it as - he and his friends used to throw water balloons at camera crews to combat boredom. To commemorate this garage-rock triumph, Martin Douglas has decided to reevaluate one of his favorite records of the 2010's.

Last week, Ty Segall's magnificent third solo album celebrated ten years of existence.

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