“Death,” the leadoff track, opens with distortion and guitar feedback before some occult-like, chanting lyrics make sure that all the squares have cleared out of the room. (Admittedly, with a cover like that, and a name like Slaughterhouse, I must have been an idiot to not expect a neck-breaking full length.) Segall’s music has often been described as face melting, but Slaughterhouse‘s cover takes that concept to the nth degree with a black and white demon face that’s surely the spawn of Medusa, Regan from The Exorcist and The Blair Witch. Simply put, I probably wasn’t the only one who didn’t expect Slaughterhouse to rock as hard as it does. His first album for In the Red, Slaughterhouse, easily meets and exceeds any and all expectations in terms of quality, making it undoubtedly one of the best releases of the year however, the album goes in a different direction sonically, dramatically expanding Segall’s depth and maturity as an artist. Based on 2011’s Goodbye Bread, and 2012’s collaboration with White Fence, Hair, I expected Slaughterhouse to be yet another high quality and coherent example of the lo-fi, garage rock for which Segall is known. Ty Segall‘s recent output is a strong sampling of what to expect from his work.
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