It has the reckless spirit of a record that hasn’t been over-analysed, but with an intense flurry of ideas from someone in the absolute prime of their creativity.
This is a superb, must-have album that places Ty Segall firmly at the centre of the garage scene and continues his extraordinary evolution as a multi-faceted, multi-talented musician.
With Twins, Ty Segall has once again tapped into the well of 60's garage rock and come out with something vital, new, and undeniably his own.
Twins shows Segall again tapping into our musical pleasure centers with its spotless hooks, grimy guitars and unhinged sing-alongs—it’s primal and timeless, and it’s as Neanderthal as it is sophisticated.
With each new song, hook, idea, and tone, it's increasingly clear that Twins doesn't fit in any one box.
Instead of exhausting himself with myriad releases in the past two years, Segall has saved the best for last in 2012, evolving into a nearly unstoppable force of garage rock on Twins.
What makes Twins and Ty’s music in general, so great is how he can still approach his music like a rambunctious 16 year old starting his first band even after working his ass off to release three albums in one year.
Twins marks a dedicated student becoming a master, and having a blast in the process.
His twitchy inclinations, the multitudes influencing and contradicting each other, keep him just off-kilter enough to stay exciting.
This is the sound of the 1960s counter culture movement crashing headfirst into post punk, taking the discordant sound of rebellion from the former and melding it with the sweaty lo-fi chaos of the latter.
Twins happens to contain some of the weakest stand-alone tracks of Segall’s output this year
|# 13 -||Beats Per Minute|
|# 2 -||MAGNET|
|# 41 -||NME|
|# 64 -||PopMatters|
|# 9 -||SPIN|
|# 32 -||Stereogum|
|# 69 -||Uncut|