Twins is the fifth studio album by San Francisco singer-songwriter Ty Segall. It marked his third and final release of the year, preceded by Slaughterhouse by the Ty Segall Band and Hair in collaboration with White Fence. Still in Rock described this LP as being "the darkest of all Ty Segall albums". "The Hill" was released as the lead single of the album along with an official music video. In January 2013, Segall issued the second single off the album, "Would You Be My Love", along with the video for "Thank God for the Sinners".
Reception
The release of the album was met with largely positive reviews from music critics. NPR Music included the album on their 50 Favorite Albums of 2012, stating Twins is "...a monster album, with explosive guitars, thrashing beats and shredded blasts of insanely catchy hooks and turns." BBC critic James Skinner called the album "...an admirable effort to capture the myriad facets of sound in one rambunctious 35-minute blast." Skinner continues by stating, "Twins is a pile-driving yet playful record that loudly proclaims its influences, from Nirvana to The Doors, Hawkwind to The Stooges, Bowie to Lennon." Pitchfork critic Evan Minsker gave the album an 8.0 on a 10.0 scale. He states that Twins sounds like a "grab bag," leaving some listeners wishing for Segall to "pick a sound and follow it for 12 tracks." However, Segall, along with "...engineer partner Eric Bauer... a series of songs that, despite their aesthetic differences, flow very well." The review ends with Minsker claiming the album "...swerves, visiting territory well-tread, with a perspective that feels new, and knowing Segall, he probably won't make another album that sounds like it anytime soon." NMEs Lisa Wright gave the album a 9 out of 10, claiming the record has "a reckless spirit...that hasn't been overanalyzed, but with an intense flurry of ideas from someone in the absolute prime of their creativity." The positive remarks continue when Wright states, " veers from psych-tinged, Syd Barrett wonks to heavy glam riffs and sneering vocals via straight-up garage-punk kicks, all welded together with a mix of feckless hedonism and the careering energy of a freight train."
