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Ty Segall Gets the Band Back Together and Lets Chrome Hit From Both Sides

The nine-song album pairs massive riffs and twin-guitar tension with a full-band writing process built for speed, friction, and surprise.

Chrome begins with a simple command: get the band back together. Ty Segall started collecting riffs around the release of Possession in spring 2025, then brought Ben Boye, Evan Burrows, Mikal Cronin, and Emmett Kelly into the process. The result is a nine-song album arriving August 28 that treats the band not as hired reinforcement but as a writing engine.

That distinction explains the record's immediate appeal. Half of the songs were written by the full five-piece, with other collaborations involving Segall and Burrows as well as contributions from Matt Yoka and Denee Segall. A prolific artist can make continuity look effortless; Chrome is more interesting because it introduces resistance. Several musicians with strong instincts have to occupy the same arrangement and decide which idea gets the most air.

## Riffs With a Social Life

The official description emphasizes massive riffs, twin-guitar exchanges, bright keyboard textures, and a rhythm section built for impact. Those ingredients place Chrome firmly in rock territory, but the important phrase is "full band." Kelly and Segall can attack or answer one another, while Cronin, Burrows, and Boye give the songs enough shape to keep the fuzz from becoming a blur.

The nine-track sequence is compact: "Hospital," "Running to Nowhere," "Black Paint," "Glass," "Play Cowboys," "Everything You've Been," "Let Go," "Separation," and the title track. Two songs arrived before the full release, offering a first look at how the album balances pop-and-punk directness with darker, more allusive writing.

## Chrome and Its Shadow

The album arrives alongside the companion EP Love Fuzzz, described as the slower, doom-and-dirge side of the same creative burst. That pairing helps clarify Chrome by contrast. This is the quicker, sharper half—the record designed to move through ideas before the edges cool.

Segall produced Chrome with Cooper Crain; Crain recorded the sessions and mixed the album with Segall. That shared control should keep the record immediate without flattening the individual players. On August 28, the best way in is volume followed by attention: hear the first impact, then return for the guitar handoffs, keyboard colors, and the moments when five writers make the song swerve somewhere one person might not have chosen.

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