There are more dives into extended jams and solos, but they are kept to a minimum so as not to sound too busy and convoluted. He utilizes more synths, like on songs like “Emotional Mugger/Leopard Priestess” and “Baby Big Man (I Want a Mommy),” but his song structure is also less conventional than his previous albums. (That number is 1-80, and I would highly recommend calling.) With this unconventional way of publicizing his album, Segall set the tone for what his album’s major themes would be: consumerism, maturity, cyber-reality, and society’s intrigue with the disingenuous.Įmotional Mugger is by far Segall’s most sonically experimental album. He announced the album by sending VHS tapes with Emotional Mugger dubbed over a crappy Nicole Kidman movie to various music publications like Spin and Pitchfork, but also included a mysterious phone number said to contain more information once called. His latest, Emotional Mugger, is a testament to his evolving sound and image, while staying true to his garage rock roots. The guy never quits -never quits creating new and innovative sounding music. In 2015 alone he released a short EP, a T.Rex cover album, Fuzz’s II, and a single with Gøggs. By now, it’s pretty difficult to overlook Ty Segall because he releases an album, whether it’s a solo project or with one of his many other bands, essentially four times a year.

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