This album starts off with the very aptly named “Beginning”. It’s a strange one, with a lot of pretty bizarre sound effects, followed by some almost innocent dual vocals coming right at you. Between that, and a strangely upbeat and intense instrumental, this is a shot out of left field. Moments in, and this is already much ballsier and a whole lot more straightforward than anything on “Hair”. It’s got a certain kookiness to it, that doesn’t go too far, as this is this is just a sort of prolonged intro track. But it grabs your attention and shows that Ty and Tim have some tricks up their sleeves. Then we have “Please Don’t Leave This Town”, which almost brings up the old school, Classic Rock tones of “Hair”, but also that “Sentimental Goblin” of Ty’s from last year. Ty actually sounds fantastic on this very groovy, upbeat track. But like I said, there continue to be tons of these little instrumental detours that are just so quirky and filled with personality. This is far from what I was expecting to hear from Ty and Tim, but it’s a blast. But for every track like that, there are tons of tracks here like “Room Connector” that just seems like half thoughts. This is a mere 30-seconds of instrumental that could have easily been tied on to the last track. On the other hand, “Body Behavior” is a seriously triumphant and almost grand track, the likes of which I didn’t think I wanted. While this album is one of Ty’s quirkier ones of recent memory, this track just sounds so focused and genuinely streamlines. I love the intense guitar strumming as well as Ty’s manic rant. Not to mention, it’s just all a buildup for this very soaring chorus. It’s the sort of track I needed to hear right about now. But every time Ty and Tim really get things revved up, we get a little hiccup like “Good Boy”. Ever since I first heard this track, I just can’t seem to get my head around it. I don’t mind Ty’s lyrics here at all, to be honest. But it just seems like it’s crammed with so many small, incomplete thoughts. And if I’m missing something here, I just don’t get it. Not to mention, whatever happened to that seriously classy throwback production that these two spent so much time with on “Hair”?
Thankfully for Ty and Tim, when this album does get on track, it gets seriously engaging and truly out there. It certainly in a way comes off like some Frank Zappa worship but is it ever good. The duo’s personality absolutely oozes out of tracks like “Hey Joe, Where You Going With That?”. It’s a stripped down number that’s really hard to place with this off-kilter beat and new instrumentals popping in whenever they feel like it. It’s a bizarre number, but it’s a hell of a lot of fun. Not to mention, I feel like underneath all of these genuinely twisted lyrics, that Classic Rock sound isn’t that far off. But why are tracks like “Rock Flute” necessary? These interludes are only wasting time on an album that’s already not that long. But I have to say one thing when these interludes just go away and track like “A Nod” come to save the day, it’s nothing but gold. This is another stripped down sort of Folky number, but Ty sounds incredibly comfortable here. It’s sincere, to the point, and Tim’s production here sounds so much more in the right wheelhouse. As this album rolls on, things also get weirder by the minute. “A Grin Without Smile” is easily one of the most freakish tracks here, which is only made even more freakish by way of these very twisted lyrics as well as just how heavy this track is. I mean, you can argue that this album is unfocused and that a lot of these tracks should have been more fleshed out. But I will say this, it makes for a very exciting, rapid-fire sort of experience. And with “Other Way”, this album has officially reached a new level of weirdness. But if it means getting more tracks like this, bring it on. This track is an absolute barn burner, with intense and unhinged guitars and Ty’s most manic and twisted performance of the entire album. Not to mention, Tim’s production here is just so hulking and massive. It’s moments like this that make this bizarre album so rewarding. But Ty, please, tell me, why are tracks like “Prettiest Dog” necessary. Yea, sure it’s a catchy little guitar piece, and it does help the album move yard. But it’s 16 seconds long and could have easily been a part of the last track.
Ty and Tim still have a whole lot of tricks up their sleeve. “Do Your Hair” sounds really streamlined and seriously focused. I still feel like Ty and Tim are showing loads more personality here, and that’s what makes this album genuinely interesting at the end of the day. There are some quirky lines here, but in these instances, Ty just sounds so much more confident. These very short, rapid-fire tracks and ideas are certainly an interesting approach. And then out of nowhere, after 12 1-2 minute tracks we get a 5-minute jam in the form of “She Is Gold”. And I emphasize Jam because Ty and Tim really let go here and jam out completely. And it’s interesting, it’s very smooth and jazzy. It also has some really weird dark undertones and a genuinely twisted atmosphere. But at the end of the day, this one for me seems to be the pinnacle of just how unfocused for this album. This album isn’t terrible. But at the end of the day if this was cleaned up and trimmed down this could have been just as good as “Hair”. But with tracks like “She Is Gold”, Ty and Tim just seem like they’re messing around. Thankfully in the last two minutes, this one does get a little heavier and actually starts to get interesting. But this was a ballsy tune, and it didn’t end up working out the way Ty had hoped. But then we get tracks like “Tommy’s Place”, which is another foray at some seriously left field stuff. There are genuinely cooky keyboards, as well as a stuttering rhythm that’s seriously tough to pinpoint. And Ty’s vocals here are just so utterly goofy that you can barely tell what he’s saying. But call me crazy, but it’s totally entertaining and the sort of freakish stroke of genius that Ty could use at this point in his career. I just wish some of these interludes were ripped out and some of these ideas were more streamlined. This album finishes up with “My Friend”, which may be the strangest track here. Strange because of how incredibly straightforward and sincere of a ballad this track is. Ty honestly hasn’t sounded this focused this entire album. In a way, this actually does sort of remind me of the songwriting style the duo approached “Hair” with, and this guitar solo is seriously tear-jerking. But where did this track even come from? Especially after just how genuinely bizarre the rest of this album is. It’s an incredible finale, one that absolutely restores some faith in this duo.
Rating: 7.8/10
Give A Listen To: “Please Don’t Leave This Town”, “Body Behavior”, “My Friend”, “Other Way”
Least Favorite Track: Honestly? Probably “Good Boy”, that track almost made me give up on this album before it started.
Genre: Garage Rock / Psychedelic Rock / Lo-Fi
Overall Thoughts: Going into this album after just how genuinely brilliant “Hair” was many years ago, there were some pretty high standards. But if we’re being real here, my friends this album is a completely different beast. “Hair” was a master class in throwback Rock sounds, with Ty’s Psych Rock mastery and Tim’s expert production creating a high point in both men’s discography's. On the other hand, “Joy” is an often freakish, puzzling and genuinely twisted project. Ty and Tim have pulled together a series of very short and completely bonkers tracks, and let me tell you when it’s good, it’s GOOD. As a matter of fact, when Ty and Tim really focus for a minute or two, the results are often a stroke of genius. But some of these interludes are asinine, and a few tracks don’t have nearly as much personality as others. But still, this is a genuinely interesting and bizarre Garage Rock album that will get your gears turning.
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