Let’s try it!’ because we’d never tried that kind of thing before.” “It’s all our favorite kinds of music,” Segall says.

A week later the band had knocked out “Slaughterhouse”‘s 11 songs, tracks partially inspired by groups like Black Sabbath, Hawkwind and Blue Cheer. After two weeks, the group joined punk producer Chris Wodehouse at his Sacramento, Calif., studio the Hangar, set up shop and hit record. It was a wholly collaborative effort, with tracks born out of jam sessions followed by tinkering that allowed the band members to each bring something to the table. “Then we’d come back the next day, listen to it and go, ‘OK, we should work on that one.'” “We just set up a tape recorder and messed around with riffs,” Segall says of the “Slaughterhouse” sessions. Segall and company were set to tour stateside throughout May behind “Hair” – a collaborative effort between Segall and White Fence’s Tim Presley that arrived May 4 on Drag City – leaving a small window to write and record. It was the perfect fit for the Ty Segall Band and In the Red.īut they had to work fast. The group, comprising Segall (guitar/vocals), Charlie Mootheart (guitar), Mikal Cronin (bass) and Emily Rose Epstein (drums), was a close-knit one that, during the past year, had developed a live rapport heavy on the thrash. That last part was crucial: Like working with Hardy, Segall had wanted to write and record an album with his touring band for some time as well. Why don’t we record in a different studio, and rather than you play all the instruments, like on all your other stuff, why don’t you do it with the band?” He approached Hardy after “Goodbye Bread” and, Hardy recalls, “we hatched the idea like, ‘Well, let’s make it different from the other stuff you’re doing.

But for the next record, Segall wanted to get loud again, while still trying something new. A relatively subdued record, “Goodbye Bread” marked a departure of sorts from the brashness of Segall’s older solo material.

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