#denee segall

[mxdwn]

The CIA (Denée & Ty Segall, Emmett Kelly) Share Music Video For “Bubble”

https://music.mxdwn.com/2023/01/24/news/the-cia-denee-ty-segall-emmett-kelly-share-music-video-for-bubble/

[hlektronio]

6. Ty Segall - Hello, Hi

Αν κάποιον φάνηκε να τον τσάκισε η καραντίνα περισσότερο από όλους εμάς τους υπολοίπους, μάλλον είναι αυτός. Φέτος όμως το αγόρι της καρδιάς μου δείχνει να ξαναβρίσκει σιγά σιγά τον εαυτό του κι εγώ την πίστη μου στην ανθρωπότητα. Μιας και τώρα τελευταία την έχει χώσει και την Denee στα μουσικά του, μάλλον θα χρειαστεί να του το πλέξω εγώ το πουλοβεράκι.

Περασμένα Μεγαλεία

7. The Stroppies - Levity

8. The Smile - A Light for Attracting Attention

9. Bill Callahan - YTI⅃AƎЯ

10. Robocobra Quartet - Living Isn’t Easy

11. Beach House - Once Twice Melody

12. Rip Room - Alight and Resound

13. MJ Lenderman - Boat Songs

14. King Hannah - I’m Not Sorry, I Was Just Being Me

15. Dry Cleaning - Stumpwork

16. The Intelligence - Lil’ Peril

17. Principles Of Geometry - ABCDEFGHIJKLMNOPQRSTUVWXYZ

18. Pinch Points - Process

19. The Lounge Society - Tired of Liberty

20. Ghost Woman - Ghost Woman

See more Blogovision here

[sickangel67]

Ty Segall | Rolling Stone Magazine

[plakatierenverboten]

Ty Segall and Denée Segall: Feel Good (Official Music Video)

[audiofuzz]

Ty Segall and Denee Segall - "Feel Good" - Harmonizer

Ty Segall and Denee Segall – “Feel Good” – Harmonizer

  Den_e_Segall Ty Segall and Denee Segall – “Feel Good” – Harmonizer I love Ty Segall’s approach to garage/psych rock, and when you combine all his guitar riffs with his partner, Denee, doing her best Flying Lizard’s, you have a great number.  As always, listening to Segall is like listening to the song put through the blender and coming out super smooth yet still rough.  According to…

[sinceileftyoublog]

The Versions of Shannon Lay

Photo by Denée Segall

BY JORDAN MAINZER

The story of how LA-based folk singer-songwriter Shannon Lay came to commit to music full-time is legendary. It’s akin to Radiohead seeing Jeff Buckley live leading to Thom Yorke’s heartbreaking performance on “Fake Plastic Trees”, but this time, it’s a different kind of inspirational folk luminary. Lay watched Jessica Pratt’s quiet, contemplative, yet all-encompassing music dominate a room; if there’s a demand for it, she, too, could do it, she thought after watching Pratt’s set. Lay decided to quit her job of 7 years at a vintage shop in August of 2017, the month being the namesake of her best album to date and one of the finest of 2019.

August exemplifies so much that Lay does well. The surprisingly linear spontaneity of opener “Death Up Close”--which starts with a misstep and eventually features a Mikal Cronin saxophone solo--is contrasted by the flaneur of “Nowhere”, an ode to enjoying the circular journey without an end, where her voice travels in the opposite direction of the song’s lilting melody. “Will I ever see through?” Lay asks, but not too bothered, layered over drums and hand claps. She sees the humor and delight in the smallest moments: Gorgeous and simple standout “Shuffling Stoned” is a scene in a record store in New York City, a customer buying weed from his dealer as small spider crawls on his stack of records. Many people would want the spider killed, but Lay sees it as no less a sign of life than anybody else. Most remarkable is “November”, dedicated to the woman left behind, Molly Drake, the mother of the late Nick. “Molly did you feel the sting / Of November songs gone quiet,” she asks, again not expecting an answer but knowing that asking the question, embodying another’s state of mind, is what’s important. 

Live last month at Lincoln Hall opening for Cronin, Lay and her band members (Denée Segall, Sofia Arreguin, and Shelby Jacobson) were effortlessly good. August songs like “Sea Came to Shore”, in studio just guitar and violin plucks, were much more forceful on stage, while old favorites like “Parked” allowed Lay to show off her finger-picking and English folk chops. The band ended their set with an a capella, almost unrecognizable version of Italo house classic “Everybody Everybody” by Black Box, further cementing Lay’s ability to adapt material to suit her style. The audience, even one prepared for the hell-raiser to follow, loved it. It makes sense; if anybody has experience slaying in front of all types of crowds, it’s Lay, who also plays in Ty Segall’s Freedom Band. She’s thankfully unafraid to call out talkers when necessary, as she told me over the phone earlier this year. “Nick Drake quit halfway through his first tour because people were talking during his set,” she reminded me. “People [who talk] don’t have empathy...they’ve never been up on stage,” she added. Ever the wise reader of people, but one too thankful to let it get to her too much, Lay moves on.

During our interview, Lay shared the stories behind some of the songs, videos, and lines from August, as well as explained her inspiration from The Simpsons, true crime, and Nick Drake and Karen Dalton. Read our conversation, edited for length and clarity, below. 

at Lincoln Hall

Since I Left You: A lot of the context of the album you’ve shared in other interviews or through the bio. Is there something else the listener might not pick up in terms of how August is unique as compared to your past releases?

Shannon Lay: I wanted this one to be overtly positive. Not as moody as my last ones. I think that was the main difference that I felt--this undercurrent of joy I had never really had making a record. There was always a heartache involved or a brooding of the state of the world. Now, more than ever, I feel like you gotta do what you want to do. Being able to experience and appreciate that and encouraging other people to do that too.

SILY: Did doing music full-time help you think about things in new ways?

SL: Yeah, for sure. It kind of freed up so much brain space that was taken up by the usual life stuff. It was cool to put all of my energy into one thing I cared about so much. It was a really amazing experience I had never really had.

SILY: What was your job?

SL: I was working at a vintage store called Squaresville. It was a great little store. I grew up there, working there from 19-26. Really formative years of my life. The store bought clothes from the public, so there were all these new faces coming in. The staff would have been an amazing sitcom. Everyone was just the most incredible character. It was a ton of fun. My boss at the time was just so supportive--always let me go on tour and come back. She was a huge reason I was able to do this in the first place.

SILY: That’s nice to hear. A lot of the time when you hear about these types of stories, it’s about escaping some sort of soul-sucking desk job.

SL: I was very lucky. I had a cool environment to be in.

SILY: Do you still keep up with them?

SL: Yeah, for sure!

SILY: The first song on the record--does that start with a recorded misstep?

SL: Yeah, it was a total accident. As we were going through the tape, I just fell in love with that moment. The song comes in so quick, it was kind of a “Roll it!” moment, and then the record just goes.

SILY: So it was something you just heard and were like, “We should keep that in”?

SL: Totally. When we were doing the mastering, they had taken it out, since they thought it was a mistake--we were like, “Put it back in! Put it back in!”

SILY: Where did you get the idea for the video for “Death Up Close”?

SL: Me and the director, Matt Yoka, we had been talking about that idea for a year. We finally had just enough money to pull it off. Matt’s the best in the sense that when he gets an idea in his head, he’s going to make it happen no matter what, so we just had the most fun ever. We built all of it. Everybody was so nice. Most of the people were just volunteering. The concept behind it was mainly the idea of having a safe space in your mind that’s never changing no matter how much you change. For me, that’s obviously The Simpsons, my total safe haven, end all be all childhood memory show, and something I still watch every day. It was amazing to become yellow.

SILY: Is there a specific line or joke from The Simpsons that you think about all the time?

SL: The one that comes to mind is such a weird deep cut. There are tons of them. [laughs] There’s one where George Bush moves into the Simpsons’ neighborhood...this is not funny to anybody...there’s one point where Bart comes over and George Bush yells to Barbara Bush, “Bart’s here, we gotta get him out of here,” or something, and she’s just like, “I’m making pies, it’ll be a while!” That’s the joke that I think of. [laughs] There’s so many. I also love the one where Lisa starts to play hockey and Marge has Milhouse’s teeth from the show before. I’m just like, “Stop showin’ us those.”

SILY: There are so many good Easter Eggs.

SL: Yeah, totally.

SILY: What was the story behind your video for “Nowhere”?

SL: I did that one with my house mate Chris [Slater]. He’s a great director. We just used our phones for that one. I found an 8 MM app that was available. We just went around our neighborhood taking some footage, and he put his editing magic on it. I really like the way that one came out. It was a cool visual moment.

I wish music videos had more of an impact, but I think they’ve become this weird thing. You remember back in the day, Making the Video, and they had a yacht, and it was this huge thing...the new Missy Elliott video totally harks back to it, like she has different looks and different dancers.

SILY: The song “November” references Nick Drake’s mother. You see a lot of songs about a prolific or important singer-songwriter who left too soon. Why did you decide to explore the perspective of his mom?

SL: I guess sort of the fact that he did live at home. It was just a normal night that he went to sleep, woke up, had a bowl of cereal, and took one too many pills. I just imagine his mom waking up in the morning and feeling this silence in the house. It just must have been such a crazy moment. I don’t think it was any secret he had some emotional problem, but you never expect anything like that to happen. Putting myself in her shoes for a minute, and feeling such a strong presence leave the world, it must have been really emotional and intense. At the same time, what he left behind was incredible. He’ll live forever. He’s more alive now than he’s ever been because of how many people have discovered his music. I was thinking about the inherent sadness of losing a loved one, especially someone where everyone outside of them could see their potential, but maybe they’re struggling. It’s a whole thing. [laughs]

SILY: I love the story behind “Shuffling Stone”. Do you like spiders?

SL: I do love spiders. Not when they’re on me, but I do like spiders.

SILY: “Something On Your Mind” was released before this record was even announced. Had you always planned on putting it on the record?

SL: I didn’t, but it just became clear to me that it sums up what I’m trying to portray and how I’m feeling. The amount of people who don’t know who Karen Dalton is--I’d love to spread more awareness of her. I discovered that song relatively recently and it really hit me, so I started playing it live, acoustic guitar and vocals. Whenever someone did know that song, they’d be like, “Dude, thank you so much for playing that song. I love that song.” I think it’s that kind of a tune. If you have a relationship with it, it’s incredibly special, and to discover it is a really beautiful thing. I hope it points people in her direction.

SILY: What made you want to sign with Sub Pop?

SL: When we first finished the record, I kind of did an email blast and sent the record to all the labels we like. Sub Pop got back so fast and were so stoked. I was surprised because they don’t strike me as an overtly folk label, but that was exciting to me to, to be like, “Hell yeah, let’s bring a new perspective to this established, wonderful thing.” Then I met some people from there, and they were the most wonderful people. I’ve never really experienced the resources they have before. There’s a social media guy, and a PR girl. Everybody is working so hard in their specialized zones. It’s amazing to experience and be a part of. They just seemed so down to earth while also being very professional and serious at the same time. They’re awesome.

SILY: They are pretty stylistically diverse even if they haven’t done much folk. Your sound fits just because of that.

SL: Totally, yeah. It opens a lot of doors in my mind of what I could do.

SILY: I read one review that said Jessica Pratt inspired you to dedicate all your time to music.

SL: The first time that I saw her play, I was super deep in the rock scene. I had always been in really loud bands, considering that people want to see that kind of music. I saw her open for Kevin Morby in LA, and the whole room was silent, and she was just captivating everyone. It was incredible to watch. I immediately went home and booked my first solo show. I had no idea people wanted this kind of music, and I had been making that kind of music, so let’s see what happens, let me book a show. She was totally the catalyst for that. I was so in awe of the simplicity and the beauty of what she was bringing to the table. Music like what she makes has a lasting power and timelessness where you can be anyone and anywhere in the world and people will be captivated. It’s amazing.

SILY: Is it hard for you to switch back and forth between your solo shows and playing in bands?

SL: It’s kind of easy. It’s a matter of mindset and what alcohol you’re consuming. [laughs] I always go tequila for the loud shows, wine for the quiet shows. We’re saying the same things, but in very different ways. It’s kind of nice to have both perspectives.

SILY: What’s the story behind the cover art for the new record?

SL: The guy who took the photo, Matt Reamer, mentioned he wanted to do more portrait photography. He had always a lot of live stuff. We took photos, and as I was going through them, I came across that photo. I love how ambiguous it is. I could be thinking about anything in that photo. It’s whatever you want it to be. I had the idea of getting people to do different versions of it, and it became this cool, unique thing of these different perspectives and the evolution of me in the past year. I’ve been doing a ton of cleaning house, checking in, and learning new things about myself and not taking myself too seriously. It’s been a hell of a journey, and seeing these four versions of me felt really appropriate for the record.

SILY: Are you the type of songwriter who’s always working on new songs?

SL: I’ve been kind of stuck lately, because I’ve had a lot of stuff to work on, but there’s always a ton of voice memos on my phone, little snippets I work on in the car. I look forward to when I have a block of time where I can sit down. I’ve written quite a bit of the next record, but I probably have 5-6 songs to go. I’m excited to get back into it.

SILY: Is there anything you’ve been listening to, watching, or reading lately that’s caught your attention?

SL: I just watched Euphoria. That was really good. It really inspired my eyeliner game. I’m always listening to a lot of true crime. I’m a big true crime buff. It fascinates me--the extremity of people’s actions. That’s what that song “Wild” is about on August--the things we’re capable of.

SILY: That line, “We are kind things capable of the most evil,” is very fitting. You kind of nail nature versus nurture in just that line.

SL: Yeah, totally. It’s wild. [laughs] The age old question.

SILY: Are you a Forensic Files fan?

SL: I am! Whenever I’m in a hotel room, I know it’s gonna be on, and I’m stoked.

SILY: My girlfriend and I struggle to find new episodes. It’s always our “before bed” show, and we’ll start one and midway through be like, “Wait, we’ve seen this one.”

SL: Have you ever listened to a podcast called Small Town Dicks? It’s the voice of Lisa Simpson, Yeardley Smith, and she has this podcast. It’s amazing because it sounds like Lisa Simpson doing a true crime podcast, but it’s also amazing stories.

Album score: 8.5/10

[skowhegan]

Agnes Denes (F ‘79), Barbara Kruger (F ‘90), Mary Mattingly (A ‘10), Jessica Segall (A ‘10) Eco-feminism(s) Thomas Erben Gallery Online  September 08 - September 26

[eastcoastrocker]

Ty and Denée Segall's Band, CIA, Plays the Echo - Photo Gallery by Scott Freeman

#TySegall and #DenéeSegall Band, #CIA Plays the #Echo - Photo Gallery by #ScottFreeman

Exclusive Photos by SCOTT FREEMAN

It was a well-received surprise last Monday — well, technically last Tuesday — as CIA, featuring Ty Segall, Emmet Kelly and Denée Petracek Segall on vocals, took over The Echo stage.

Contributing photographer Scott Freeman was on hand to capture photos of the relatively new band, which played the late night set for some lucky fans.

CIA was on the bill with…

[mxdwn]

Ty Segall Shares New Video for “Feel Good” featuring Denee Segall and Announces Fall 2021 Tour Dates

https://music.mxdwn.com/2021/08/16/news/ty-segall-shares-new-video-for-feel-good-featuring-denee-segall-and-announces-fall-2021-tour-dates/

[lttl-lou]

Ty Segall - Meaning

[zoetropia]

Zoetropia’s Top Albums of 2020

Oops. I’m a LITTLE late. I listened to 167 records released in the year 2020. Here are my favorite:

Honorable Mention

Soft Kill - Dead Kids R.I.P. City. Recommended track: Matty Rue Fuzz - III. Recommended track: Blind to Vines Pinegrove - Marigold. Recommended track: Endless Porridge Radio - Every Bad. Recommended track: Lilac Zachary Cale - False Spring. Recommended track: Mad Season Pure X - Pure X. Recommended track: Fantasy Fleet Foxes - Shore. Recommended track: Sunblind Cut Worms - Nobody Lives Here Anymore. Recommended track: Every Once In A While Sturgill Simpson - Cuttin’ Grass Vol. 1. Recommended track: Just Let Go AL Riggs & Lauren Francis - Bile and Bone. Recommended track: Werewolf Swamp Dogg - Sorry You Couldn’t Make It. Recommended track: I’d Rather Be Your Used To Be All Hits - Men and Their Work. Recommended track: Sugar Supply Personality Cult - New Arrows. Recommended track: Circles

The Top 10

10. Bonny Light Horseman - Bonny Light Horseman: Three great folk singer-songwriters reworking classic Folk songs? What could go wrong? Not much apparently. Anais Mitchell, Eric D. Johnson, and Josh Kaufman combine to weave their gorgeous vocals and instrumentation around these melodies, but more importantly, don’t treat them with too much musty reverence. They bring these, in some cases, centuries old tunes to modern relevance with almost effortless ease. It’s a warm, wonderful listen. 

9. Lonker See - Hamza: This album is a fucking trip. Though I’m not much of a stoner, I’ll always have a soft spot for the psychedelic post-rock trip outs that feature on this record. You got the requisite dreamy vocals, the spacey drone, the lush instrumentation, the riff heavy grooves... all compiled and arranged impeccably. “Put Me Out” and “Open & Close” is a barnburner of a one-two punch, and it’s made all the better by the journey through the album you have to take to get there.

8. Advertisement - American Advertisement: An absurdly confident debut from this group. Mining influences from a wide range of classic rock influences and molding them into something all their own, this record stretches out, grooves, rocks, jams, and swaggers with an easy will. It’s just a great all around Rock record in an era that is sorely in need of them.

7. Perfume Genius - Set My Heart On Fire Immediately: Mike Hadreas continues his run as one of the best songwriters working with this record of personal, idiosyncratic tunes that cobble together a world of whatever sounds interest him. And boy, do those sounds interest me as well. “Describe” is one of my favorite tracks of the year, if not my overall favorite. The rest of this album is not far behind.

6. Pottery - Welcome to Bobby’s Motel: Immense fun. A dance-punk/post-punk record that oozes cool, excitement, and joy. There’s an infective sense of restlessness throughout this thing but it never once loses its groove. Throw this on at a party with a receptive audience and let the vibe wash over everyone. It’ll be a guaranteed good time.

5. Lamps - People with Faces: After 8 long years, Lamps is back with this punch in the face of noisy chaos. I do love a record that comes in under 30 minutes, and this one does what it needs to do in a clean 26. Denee Segall is a fantastic addition on vocals and bass, adding a fantastic riot grrl-esque scream to tracks like “Horse Cow Goat Pig Dog”. Go crank this one up and melt some speakers.

4. Fiona Apple - Fetch the Bolt Cutters: Bless Fiona Apple. An inimitable artist who has never let success or attention get in the way of her vision. And what a fine vision it is. She works almost as a collagist, in my mind, cobbling together sounds, words, ideas, and stories that interest her into a cohesive whole using her mighty lyrical powers and her tuneful ear. It’s nice to be taken on a journey by someone in complete control.

3. Wax Chattels - Clot: An incredibly punchy slab of post-punk noisiness, made with just a drum kit, a keyboard, and a bass guitar. But despite that, their sound is immense. Pummeling. Relentless. But this also wasn’t just slapped together in a garage somewhere. Every sound made here is calculated perfectly, every growling bass tone, every snap of the snare drum, every jab of the keys. And the production is airtight. It’s not for everyone, but if you listen to “Efficiency” and are left gasping for more, you are in for a treat of a record.

2. Gum Country - Somewhere: Pitch perfect noise pop aimed right at the pleasure center of my brain. Tune after tune of fuzzy earworms for anyone that loves Yo La Tengo, Stereolab, and the JAMC. Hey, that’s me! This is literally my catnip. If there’s one sound in indie rock that I gravitate to, it’s this one, and when it’s done well, I’m in bliss. The only bad thing about this album is that it ends!

1. Young Jesus - Welcome to Conceptual Beach: Young Jesus tamps down some of their ramshackle emo tendencies into something more like jazz, exploring sounds and arrangements that push against their indie rock roots. I knew I would love this record by the climax of the first song. It definitely has some of my favorite lyrics of any record this year. It’s an album about acceptance, accepting pain, joy, relief, love, sadness, everything that life can throw your way, and move forward with brightness and hope and appreciation. From “Root and Crown”, my lines of the year: “I am not a living crisis but I'm learning how to breathe / How to feel, how to tell my friends and family what I need / I know the music of the winter time / But to the spring I give my love and life.” Goodbye, 2020.

[meltedmagazine]

TY SEGALL SELF TITLED ALBUM REVIEW

     On June 8, 1987 a man was born. Who, you ask? A man named Ty Segall. Loved by all, a deity to most - truly a legend. The modern day Rock’ N’ Roll Prometheus. In 2008 he released his first solo album: Ty Segall, while still great, the sound was fairly generic garage rock. His next two records, Lemons and the incredible Melted were still garage-y, but more transitional towards his next venture. 2011’s Goodbye Bread was by far his most thought out release. Less reliant on banging out gnarly chord progressions and more focused on song craft: his first album to feature quieter moments and honest to god guitar solos. Think Marc Bolan. 2014 comes and so enters MANIPULATOR. This record transcends everything garage rock is supposed to be. Written over a 14 month period, this double record is jam packed with everything under the sun. A loose concept album, it tells the story of a girl named Susie Thumb who leaves home to follow a rock star called the Crawler. Soaring solos and string sections abound, filling over the top compositions. Ziggy Stardust meets 70’s Stooges.

    All of the aforementioned releases led up to 2017’s Ty Segall (that’s TWO self titled albums, guaranteed to confuse your iTunes library). His most recent album came out on January 27th, and is a smorgasbord of everything he has done up to this point. It’s got your rockers, your rollers, your ride-out-of-controllers, and also showcases a much softer side; some songs even have both! Maybe tied with Manipulator, Ty Segall could be The Man Man’s most sonically diverse record yet.

     Opener “Break A Guitar” rips and rattles, hot and heavy for the 4 minutes of time it occupies. Second track “Freedom” sounds like it could have been cut from the same cloth as Manipulator…but next is when things take an unexpected turn. “Freedom” transitions directly into “Warm Hands (Freedom Returned)”, a TEN minute (his longest song to date) opus. After spending some time in familiar waters, the song veers off course into jazzier territory with the lengthy mid-section instrumental. Suddenly a drum roll kicks in and the song positively EXPLODES back into a refrain of Freedom’s chorus. The result is cathartic, and possibly one of the greatest musical moments in recent history. Side 1 ends with the country twang of “Talkin” an ode to self-obsessions.

    Side 2 opens with heavy rocker “The Only One” and keeps up the momentum with “Thank You Mr. K”, whose only break in speed is to include the sound of a toilet being smashed…music to speed to, man. After this, it’s all smooth sailing, The electrics are turned down from 11 and out come the acoustics. “Orange Color Queen” is a beautiful, albeit surrealist love song to Ty’s apparent wife, Denee. “Papers” almost sounds like it was taken from a musical of some sort, and is a song about organization. “Take Care to Comb Your Hair” starts off like a lullaby and gradually gets thicker. The record ends with a 4 second song that solely consists of a guitar chord played twice. It may not be Ty Segall’s greatest release, but it has no bad songs on it. This is an album you certainly do not want to miss. Ty Segall forever. 

LISTEN TO TY SEGALL HERE

by JARED HARRISON 

[wendellbartonn]

What's going on Wednesday?

Tonight's NYC-area shows include The C.I.A. (Ty & Denee Segall), Elton John, Westerman, Kodie Shane/Lor Choc, Cypress Hill, Justin Vivian Bond, and more.

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What's going on Wednesday? published first on https://soundwiz.weebly.com/

[allbrooklynveganposts]

Tonight's NYC-area shows include The C.I.A. (Ty & Denee Segall), Elton John, Westerman, Kodie Shane/Lor Choc, Cypress Hill, Justin Vivian Bond, and more.

Continue reading…