Manipulator
The acoustic guitars on Manipulator matter as much as the distorted electric parts. Ty Segall keeps setting the two against each other. A softly strummed chord can open the space before a riff fills it again. The record sounds fuller and more carefully finished without removing the restlessness from his garage rock. Melody and sound both receive proper attention.
"The Singer" uses a slow build and strings to establish a different mood. The singing fits comfortably inside it. Segall can let a tune move lightly while the instruments around it gain weight. It shows that his approach extends beyond a strong riff and a shout.
The heavier side remains very much present. On "Feel", angular bass and busy percussion lead towards a guitar eruption. The change works because the rhythm has time to do its job first. "It's Over" and "The Crawler" choose a more direct route with grinding riffs. "The Hand" and "Tall Man Skinny Lady" offer tunes that arrive less forcefully but have enough character to stand out.
Smaller additions help as well. Acoustic guitar, tambourine and synthesizer colours around songs such as "Mister Main" and "The Connection Man" make the sound more spacious. The differences often sit in the arrangements while the songs remain clearly recognisable. Segall treats familiar rock influences as material for a coherent record.
Seventeen tracks in almost an hour is a lot, however. Related sounds start circling back later on, and the quantity becomes more tiring than necessary. A shorter selection would give the strongest songs more room. Even so, Manipulator convinces through melodic singing, thoughtful arrangements and guitar playing that keeps making an impact. It is a large record that usually knows where it wants to go.
