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Ty Segall on Giving Up the Guitar (for now) – Spotify for artists


Released ten years after the debut record, Tie Segal2018 Double Album Ops, Freedoms Goblin, Provided a panoramic snapshot of all styles and sounds mastered by over-the-top California musicians over the past decade. These include: Garage Rock, Psych Rock, Punk Rock, Funk Rock, Folk Rock, Glam Rock, Stoner Rock, and many other adjectives that you can throw in front of the word “rock”. But no matter what form his music takes, his huge discography is combined by one common feature: his songs are usually written and / or performed on guitar.

Her new album, First taste, It’s a lot of tie seagulls, it combines heavy reefs and head hooks with crazy, crazy-scientist jubilation. But it swings dramatically differently than any of its previous records. The seismic creator, on top of the double-drummer foundation, builds a phage-covered wall of sound using Segal analog syntheses, saxophones, boozuki, harmonizers and koto (among other external vocabularies you might see on Google). But missing from that real pon-shop inventory list is the instrument on which Segal’s legacy was built: the guitar. Spotify spoke to Seagull for artists about why the most dedicated rock ‘n’ rollers sometimes have to give up their favorite thing.

Spotify for Artists: When it was released in 2018, Freedoms Goblin Everything that you achieved up to that point in your career seemed to be a highlight-reel combination. But intuition, it feels like your farewell to guitar rock. Let that record tell you the direction you took First taste?

Tie Segal: I’m the kind of person where I have to do the opposite to really enjoy something. As a lyricist, I think it’s better to use different methods of writing songs. I never want to be stuck and want to be honest Freedoms Goblin I was like, “I don’t think I can write songs on the guitar right now, because I think I’ve been tapped out – I’ve hit my maximum guitar style.” So I kept playing the guitar and didn’t get burned in it, I didn’t have to play the guitar for a while.

How do you know where to go from there?

Originally, I bought a bouzuki, which has Greek and Irish roots. I was just trying to write a song, and I came up with the last song [First Taste*], “Cowboy alone, “And I was,” Oh, that’s a different word-how can I stretch it and keep this vibration going? “Then I bought the quota, and it cemented the idea of“ I don’t want * ” Guitar on this record! “I don’t think I can play these instruments properly, but I’ve come up with these weird songs that I’ve never been able to play on the guitar, because I know how to play the guitar, and I have techniques that I always do. So I got excited, And then I was, “Okay, now I have to do a capella song [“Ice Plant”], Because that’s the scariest thing I could ever think of doing and it has the highest chance of failing. Things like that excite me – because if it doesn’t fail, it’ll be great.

How did experimenting with all these different instruments inspire the kind of song you are writing?

Whenever I write a song on guitar or piano, I always sing a tune while doing it. Or I write the lyrics verbatim as I go – I just do the words and take the letters and the words and then make the words. But for this record, all the vocal melodies and songs were 100 percent post-composed, which is something I have never done before. I firmly believe that these two things should be connected to each other … or at least that’s what I thought about myself. Now, I feel more comfortable separating them, although playing reefs and singing them while I practiced was really weird, because rhythmically they are completely isolated. It’s like tapping your head while rubbing your stomach.

You can understand that in the structure of the song, which does not follow a linear argument. Songs like the lines of a poem are more fragmented. Some of them even spread.

I’m always trying to improve lyrically. In the early records I made, there were some of the songs that I couldn’t hear, because lyrically, I was like, “Man I had some childish things in there!” I think the whole idea of ​​this record was to break down the formulas I was used to using. Not writing with a guitar – and not singing while writing a song – forces me to change a lot of lyrical structure. It’s not just verse / chorus / verse / chorus / bridge / single / chorus. This is a strange phrase in the lyrics.

Now that you’ve got your first taste of making music without a guitar, is this something you find yourself exploring further?

I really, really enjoyed making this record – it was a very fun puzzle to figure out. And I already have the idea of ​​going further down the rabbit hole. But then I love the rock ‘n’ roll. There’s nothing like a good reef – like “Out of schoolBy Alice Cooper. Every time I get bored on guitar music, I put that song on and I like, “Fuck, you go there – that’s why you should make a rock ‘n’ roll. It rules!” I think I’ll always do those things. As long as I’m doing both weird style and big guitar style, it will be balanced in my brain.

– Stuart Berman



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