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Taking fourteen months on an album? Par for the course surely? Fourteen months for a Ty Segall album on the other hand represents something of a genuine go-slow. Ever since the audaciously impressive 1-2-3 of Hair, Slaughterhouse and Twins in 2012, Ty Segall has gained a reputation for busting out albums of impeccably high standards in nothing more than a few months. So to take well over a year on one release seems either uncharacteristically over-cautious or astoundingly ambitious, even by his standards. Pledging to take his time on this new record means that Manipulator is more measured, more defined and more eclectic than any other record he's been part of before.

Sprawled across 17 tracks and just shy of one hour in length, Manipulator has plenty of what you expect - 60s pop melodies, fuzz and signature madcap solos - but there are plenty of little surprises along the way. The album feels more indebted to Segall's psychedelic leanings than his previous fixations with proto-punk and garage rock. Clearly taking the extra time has given him greater scope to play around with varied instrumentation and song structure. Tracks such as the 'The Singer' and 'The Clock' feature string sections giving an Arthur Lee or Scott Walker graceful sway to the album, whilst the sloping psych-oragan self-titled opener feels distinctly Barrett-esque. This is Ty Segall's very own Nuggets compilation.

The joy of Ty Segall lies in his ability cram memorable riffs and melodies into exuberant, fuzz-filled delicacies; the first half of Manipulator possesses this quality in a reassuring abundance. 'Tall Man, Skinny Lady' jerks through heavily strummed acoustics and screeched warbles like only Ty can. The rumbling heavy bass on 'Feels' propels the track towards an insatiable guitar solo and shrieking finale, via an elongated percussion breakdown. The incessant electronic rhythm on 'The Connection Man' adds to the album's wild-eyed impetuousness, completed by even more feral guitar thrashing. This leads into the clean cut 'Mister Main' and 60s folk-rock homage 'The Hand', slowing the pace of Manipulator just as the album feels as if its reaching its climax.

However, Manipulator isn't ready to give up just yet. But after kicking back into gear with the blitzrock pop single 'Susie Thumb', the album begins fade into fatigued reiteration. 'The Crawler', for all its impressive gnarled textures of fuzz, suffers for the slowly growing feeling of repetitiveness sinking in, and 'The Feels' is far too indistinct, despite being saved somewhat by a brilliant marauding solo.

It's pleasing to discover that, even when taking his time, Ty Segall is still able to deliver the magic of spontaneity and urgency that was scorched across his previous albums. Although the running time of Manipulator will perhaps prove a slight bugbear for casual listeners, I'm sure his legions of fans won't mind having a bit more to feast on that usual.

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