Ty Segall / Ty Segall Band: Mr. Face EP/Live in San Francisco

Pity the poor live album. In the era of streaming video, smartphones, and extensive fan-driven digital archiving, their utility has diminished. Amid so much constantly accumulating data, it’s difficult for a single concert—particularly one that you did not personally attend—to feel at all remarkable. And let’s be real: the old problems remain unresolved. With the exception of the Grateful Dead, no band’s live record is its best record.

Castle Face Records’ Live in San Francisco series is an outlier, though. It’s not so much about a single artist as a whole scene. Over the last couple of years, the label has released a number of concert recordings capturing the bests acts in—or intimately involved with—the Bay Area’s garage and psych-rock community, including sets from OBN IIIs, White Fence, and Icky Boyfriends. The performances are usually recorded to a Tascam 388 tape machine, which imbues the recordings with a grit-heavy feel that’s not too distant from the band’s “studio” albums. 

Ty Segall Band’s Live in San Francisco is the fifth installment in the series. This isn’t his first live record (that was 2011’s Live in Aisle Five) and it’s not even his first appearance in the series (his prog-loving side project, Fuzz, was also included), but it’s an important addition. Along with Castle Face co-founder John Dwyer and his band Thee Oh Sees, Segall was a defining voice in the city’s late ’00s garage rock bubble and he and Dwyer are also, arguably, its most popular exports. And while it’s clear that Segall is prolific—he’s put out a double LP and a singles collection just within the last six months—this record isn’t filler.

Like a garage-rock version of Prince, Segall performs almost all of the music on his LPs alone, yet his live band—which includes drummer Emily Rose Epstein, guitarist Charles Mootheart, and bassist Mikal Cronin—is no joke. Having toured extensively for the last four years, they’ve tightened up into a be-all, end-all rock’n’roll group with the volatility and spirit to match choice ’70s sweathogs like the Coloured Balls or Groundhogs.

The set list draws heavily from 2011’s full-band album, Slaughterhouse, along with a few of the heavier cuts from the last handful of Segall’s solo records. These live takes are, for the most part, harsher, nastier, and faster than their studio versions. The song “Feel” appeared on last year’s double LP Manipulator with a considerably more polished presentation. The version on Live in San Francisco is unhinged—abandoning nuance for five minutes of gale force choogle.

Some of the other entries in Castle Face’s live series have encouraged spontaneity via covers or drawn-out jams. Regrettably, there’s not much of that to be found on Live in San Francisco. Here Segall and his band perform the songs pretty much as written, only louder. It isn’t Segall’s best record, but it’s worthwhile if only in that it documents the whole crew playing together at the peak of their ability.

And because, you know, why stop there: this month also sees the release of Segall’s Mr. Face EP. On Manipulator, Segall attempted to dial in an ambitious high-gloss classic rock masterpiece, complete with string section. Mr. Face is more or less back to business as usual—four songs that find Segall returning to the hazy mid-fi sound of his 2010 LP, Melted.

Available digitally and also as a pair of 7” singles—which come with 3D glasses—the four songs are pleasant enough, but in comparison to the unruly sounds on Live in San Francisco, it feels like a bit of an afterthought. At this point, Segall can write this kind of lightly dazed, psychedelic pop with about as much effort as most people expend while checking their e-mail. If anything, Mr. Face is enough to tide you over until the next Segall record which, as always, can’t be all that far off.

from Album Reviews – Pitchfork http://ift.tt/14ZLhfD

Meatbodies: Meatbodies

Mikal Cronin put on some killer live shows last year surrounding MCII, but while he was singing beautifully and strumming his 12-string, another longhair consistently threatened to steal the spotlight. Chad Ubovich, the touring guitarist responsible for the huge solo on “See It My Way”, has undeniable chops. He’s also the bassist for Fuzz, and it’s the same deal—he does a lot more than just slouch in the background and play the minimum. When this dude takes a solo, you watch. Based on those sideman gigs alone, it makes sense that his band Meatbodies got picked up by In the Red for a pair of singles and a long-player.

Last year, they released a very good self-titled cassette on Ty Segall’s God? Records (as Chad and the Meatbodies). It sold out fairly quickly and, in circles that care about those sorts of things, became one of those instantaneous small batch collector’s items. But with their debut LP, it’s more difficult to view the band as small-press ass-kicking upstarts. Meatbodies was recorded and mixed by Eric “King Riff” Bauer, Bob Marshall, and Chris Woodhouse (who, between the three of them, have worked on every Live in San Francisco release and most Segall, Cronin, Fuzz, and Oh Sees records). The cover art was done by Fuzz and Slaughterhouse artist Tatiana Kartomten. Segall even plays drums and bass on a few tracks here. Meatbodies are embedded in that world, and they’re working within a formula that’s proved successful for their more-visible peers. Comparisons are inevitable; the bar is high.

Pro wrestling heels use the term “B+ player” about guys in Ubovich’s position—rookies who put on a good show but aren’t quite headliners. But he rips, you see, he’s always been a destroyer, and on Meatbodies, he also proves to be an ace rock’n’roll strategist. The tone here is set perfectly: 59 seconds of psychedelic sci-fi noise, and then, very suddenly, Ubovich and Segall come in at full power, electric guitars unrelenting, with “Disorder”. It’s a loud, exciting, kinetic, and brazen introduction. Like Daniel Bryan before him, Ubovich rises to the occasion.

But Meatbodies don’t just blindly hit peak after peak, shredding toward the high heavens uninterrupted for a full album. They pull back and indulge their more psychedelic inclinations, letting Ubovich’s voice shine, lilt, and echo over steady acoustic strumming. When that starts sounding too sterile after a couple minutes, he dirties it up by dropping an electric guitar solo in the middle. While they craft plenty of catchy hooks and choruses over the album’s dozen tracks, they don’t lean on any one thing for long. There’s always a changeup in place. They’ll dismantle a loud and fast song for a sluggish, slow finish. Any band can churn out an exciting two-minute garage punk song and then repeat the formula a few times. Very few artists of this ilk exhibit this much patience, which makes for a continually rewarding listen.

If there’s a clear-cut example of Meatbodies making the upgrade from “band with a tape and some 7″ tracks” to “rock band to watch,” it’s the re-recorded album version of “Wahoo”. The ramshackle stomper is now stadium-ready. (It’s worth checking out the original tape version of that song, too—a fun document of the band’s lo-fi, warbly beginnings.) The track comes late in the album, and when it arrives, Ubovich has already found several opportunities earlier in the LP to show off what he’s capable of as a guitarist. And sure, there’s excellent guitar work on the track, but there’s a clearer focus on the confidence he exhibits as a frontman. He yelps, screams, and croons like a seasoned rock star. “I don’t know and I don’t care,” he sings at the bridge. He does care, though—if he didn’t, Meatbodies wouldn’t sound half this good.

from Album Reviews – Pitchfork http://ift.tt/1wx16Se