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Nov 7, 201290The music on Twins is more of the fantastically great quality we've come to expect.
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Nov 6, 201280A genuinely engaging and fun album.
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Nov 1, 201280Despite how often he churns out work, this is steadfast and cohesive.
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Oct 29, 201290This 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.
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Oct 24, 201280Twins is a pile-driving yet playful record that loudly proclaims is influences.
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Oct 22, 201280Most important is the pure joy of these tracks and how instantly likeable they are. [Nov 2012, p.94]
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Oct 22, 201260It's playful rather than facetious, and the combination of sweet pop tunes and mean distorted guitar is as winning as it ever was. [Nov 2012, p.104]
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Oct 18, 201280Twins proves to be an excellent collection of over-driven garage pop scorchers that fully exhibit Ty's personality and passion for rock and roll glory.
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Oct 17, 201285To have a release that's altogether thrashing, infectious and emotional achieves a depth that the slew of garage rock revivalists today fail to encapsulate.
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Oct 12, 201280Amidst the fuzz and noise, Segall has turned out a raucous blitz of an album that deserves your play, if it doesn't break your speakers first.
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Oct 11, 201270Twins shows Segall in greater command of his craft. Whereas the songs on Goodbye Bread and the previous (and spectacular) Slaughterhouse would gradually fall out of control, here the dissipation feels deliberate, as if Segall were trying to drive the songs to their deaths.
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Oct 11, 201260The album, however, cannot shake off the feeling that it's a melting pot of Segall's previous albums from this year.
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Oct 11, 201275"Gold on the Shore" is an incongruous acoustic strumalong that sounds like something that might have been discarded by one of a billion Britpop also-rans for being too exciting, and closer "There Is No Tomorrow" plods, but this shouldn't overshadow a genuinely original album.
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Oct 10, 201280In exciting displays of versatility throughout the album, Segall grimes it up then unplugs, freaks out then holds back, wails then moans--all in utter confidence.
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Oct 10, 201280Segall makes quite a cacophonous rock 'n' roll racket with infectious pop stompers like rousing, four-on-the-floor rocker "You're The Doctor" and the menacing, rolling riffage of "They Told Me To." Yet, the headroom in the mix makes so the oceans of pulverizing reverb don't swallow the hooks. [No. 92, p.59]
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Oct 10, 201280Twins works to include both the bombastic noise that made Lemons a cult hit, and redefine any notion of what Segall is capable of.
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Oct 9, 201280Twins doesn't stick to the middle or even pick a lane. It swerves, visiting territory well-tread with a perspective that feels new.
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Oct 9, 201270Twins might not completely match up to the perfect storm of Slaughterhouse, but it is another solid addition to Segall's discography.
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Oct 9, 201275It's another strong entry in his fuzz-garage/acid-punk free-for-all, if not quite as ferociously relentless as its predecessor, "Slaughterhouse" (In the Red).
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Oct 9, 201280He sounds as if he's just seen his own specter in the mirror, but no worries--records don't get much more alive than this.
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Oct 9, 201287It's the best album of its kind to come out this year and, perhaps even more significantly, Segall's best work to date.
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Oct 9, 201282Twins 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.
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Oct 9, 201275Not only does Twins prove an exciting and vital listen, it's Segall's second consecutive album of guitar-heavy, rough-and-tumble rock 'n' roll--the Nuggets disciple's best stylistic look.
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Oct 9, 201260[Segall] obscures weedily muffled lyric snatches under waterlogged guitar fuzz that builds into a thick wash and varies the formula with hippie-commune harmonies, space-alien dirges, acid-folk jangles--all with a precision that belies his surface amateurism.
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Oct 8, 201280His keen-eared blending of Beatles-style melodies and psych jangle with the snarling attitude of Mudhoney and Melvins' malevolent heaviness is oddly invigorating. [Nov 2012, p.81]
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Oct 8, 201290It 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.
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Oct 8, 201270His songs are chiefly good, and there's little more you want of a loose garage punk rock record than that.
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Oct 8, 201280Everything he does is good: melodic, enervated and loud. Twins, though, is a record that goes out of its way to court the floating rock vote, upping the melodies and toning down Segall's more wayward psychedelic digressions.
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Oct 8, 201260Twins does what it does brilliantly – but Segall makes it sound so effortless, you keep getting snagged on its limitations.
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Oct 8, 201260Segall throws a lot of stuff against the wall to see what sticks, and not all of it does, but it's still impressive that he's capable of pumping out so much music in so many closely related veins without repeating himself.
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Oct 8, 201280Twins is a bright moment in a nearly ceaseless evolution, and one of the most fluid and successfully ambitious in Ty Segall's catalog.