A new Ty Segall record is becoming an annual occurrence. Since 2008, the prolific leader of the psychedelic fuzz-rock movement has released an album a year. This year, he’s kicking off 2018 in style with a record that is a celebration of the “Freedom to love or to be alone; to be pretty or pretty ugly; the freedom to turn the other cheek or to turn up the volume.” Off the back of his terrific 2017 eponymous album, Freedom’s Goblin is a brash, in your face effort reminiscent of the sonic sounds of T-Rex and The Stooges, with the nasally vocals of John Lennon. It’s testament to the talents of Segall that he is almost chameleonic in his musicality and Freedom’s Goblin showcases this sublimely – even if it is, at times, a little meandering and a bit too long.

The album opens with ‘Fanny Dog’, an ode to his dog of the same name. The track is a rip-roaring start to the record, carrying all the essential ingredients of a Segall anthem. It’s almost overflowing with searing guitar lines, sizzling solos, alongside a sumptuous three-piece horn section which appends an invigorating quality to Segall’s trademark sound. It’s a delightful immersion back into the world of Segall, as he gently eases you into the weird and wonderful spheres he creates.

In contrast, ‘Rain’ turns down the tempo levels in a song that illustrates Segall’s vocal triumphs. Initially he sounds like the tired, slow sing-talking style of Lennon, but as the song raises the grandiosity, his vocals take a level of grandeur like artists such as Matt Bellamy. In just two songs Segall showcases his variety as an artist. Additionally, his cover of Hot Chocolate’s ‘Every 1’s a Winner’ exhibits his ingenuity. Starting with a delicious, succulent lead guitar riff, Segall turns the soulful, funky classic into a dirty, sullied headbanger of a song that will no doubt go on to be a live classic.

Somewhat ironically, and certainly employed on purpose, ‘Despoiler of a Cadaver’ follows the cover as one of the funkiest songs on the record. Its addictive bassline, seductive lyrics and repetitive assertion of the song title has the same aroma at St Vincent at her funkiest. Elsewhere, ‘Alta’ showcases Segall’s playfulness as an artist, one who is constantly cavorting musically. It’s a symphonic deluge, lavished with glam-rock inspired riffs that juxtapose and absorb Segall’s knack for an enchanted melody.

There are missteps, of course, and the six-minute long ‘She’ is certainly one of them. Harking back to the power ballad-heavy, shoulder pad wearing era of 80s American rock, it feels far too heavily drenched in parody, rather than pastiche. Not only does this era feel far removed from Segall’s natural sound, but it also seems far below his musical level. Descending in the middle of the album, it’s irksome to say the least, and wouldn’t be out of place on a Kiss record, and come on, we’re all better than Kiss. It’s one of only few occasions where it seems Segall’s musical investigation has gotten the better of him. Likewise, ‘Talking 3’ feels a little underdeveloped as a concept and should have probably stayed in the studio.

For every misstep, though, there’s three songs that are terrific. Horn section-heavy ‘The Main Pretender’ has the universal listenability of T-Rex and The Beatles with the dynacism and uniqueness of a band like BadBadNotGood. In fact, throughout, his brass section, and indeed the whole of the Freedom band, lift the record, expanding it into something increasingly more impressive. Furthermore, closing song ‘And, Goodnight’, one of the finest songs on the record, sees Segall metamorphize into funk royalty Parliament with one of the most delicious, reluctant guitar solos you’re likely to hear all year.

It’s a double record, and like many double albums before it, it doesn’t feel like it necessarily needs to be. When Fleetwood Mac made Tusk, Mick Fleetwood stated that it had to be a double album due to the sheer amount of creative energy occurring in the studio and this feels the same. Ty Segall is like a musical scientist, constantly experimenting with musical formulas, and, subsequently, some work and some don’t. Essentially, though, a large proportion of Freedom’s Goblin is inspired, exciting and different – and for die-hard fans this is like Christmas has come early. It’s weighty, cumbrous and worthy of listen after listen. When Ty Segall first arrived on the scene, he was compared with the glam-rock of Ziggy Stardust and The Spiders from Mars. Now, a decade later, it might be time to start comparing him to the unique, ever-changing personas of David Bowie. Ultimately, this is Segall’s brain laid out for all to hear.

Liam McMillen

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