Emotional Mugger paints a picture of menacing clowns thrashing about in semi-trucks, a possible musical score to the demolition-derby video game Twisted Metal. Ty Segall inhabits a new persona on each record, and his latest alter ego is demented.
The 11 songs on Emotional Mugger trudge along, carrying crazy on their shoulders. “Squealer” is fun if agitating, like the feeling you get from riding an old roller coaster — Belmont Park perhaps. "Emotional Mugger/Leopard Priestess” continues the agitation with screeching guitars that argue with just about everything else within the song, yet there’s something sexual about it. The rumbling instrumental “Diversion” is constant thrashing with repetitive and alienated vocals. The album is frantic. Even the song “Baby Big Man (I Want a Mommy)” has what sounds like a chorus of crows cooing at a dead carcass.
There is something to the experience of Emotional Mugger that keeps you listening, however. Maybe it’s the anticipation that the uneasy ride will right itself. It doesn’t. It becomes even more strange and queasy with deep cut “W.U.O.T.W.S” — a slew of white-noise derangement that sounds like a berserk fax machine.
In comparison to Segall’s previous release, Manipulator, which was much more cohesive and melodic, Emotional Mugger is filthy rock and roll. The heavy distortion, the sludgy tempos, the often robotic vocals…it all makes for an unsettling but riveting experience.
Emotional Mugger paints a picture of menacing clowns thrashing about in semi-trucks, a possible musical score to the demolition-derby video game Twisted Metal. Ty Segall inhabits a new persona on each record, and his latest alter ego is demented.
The 11 songs on Emotional Mugger trudge along, carrying crazy on their shoulders. “Squealer” is fun if agitating, like the feeling you get from riding an old roller coaster — Belmont Park perhaps. "Emotional Mugger/Leopard Priestess” continues the agitation with screeching guitars that argue with just about everything else within the song, yet there’s something sexual about it. The rumbling instrumental “Diversion” is constant thrashing with repetitive and alienated vocals. The album is frantic. Even the song “Baby Big Man (I Want a Mommy)” has what sounds like a chorus of crows cooing at a dead carcass.
There is something to the experience of Emotional Mugger that keeps you listening, however. Maybe it’s the anticipation that the uneasy ride will right itself. It doesn’t. It becomes even more strange and queasy with deep cut “W.U.O.T.W.S” — a slew of white-noise derangement that sounds like a berserk fax machine.
In comparison to Segall’s previous release, Manipulator, which was much more cohesive and melodic, Emotional Mugger is filthy rock and roll. The heavy distortion, the sludgy tempos, the often robotic vocals…it all makes for an unsettling but riveting experience.