Painting Ty Segall as anything but a modern mover and shaker of grisly garage rock is sort of impossible, especially within the context of the Ty Segall Band’s full-length concert album, Live in San Francisco (Castle Face Records), where all of that is amplified at the city’s Rickshaw Stop venue. The live album doesn’t provide any new life to the songs of Slaughterhouse, which take up about half the runtime, or the other cuts that fill it out, but what this recording might do is depict Segall himself as a character distanced from the dreary figure the Slaughterhouse cover might imply. Segall is, in fact, just a goofball with a guitar in hand whose band flourishes live like any halfway-decent rock band.

But goofy is as goofy does; less than two weeks ago came Segall’s solo Mr. Face EP (Famous Class Records), the release of which means four new songs and the invention of “the world’s first playable pair of 3D glasses.” (Released as a double 7-inch, purchasers could put the two records over each eyeball to watch cool things like, literally come at you from the TV screen, man.)

Mr. Face’s music is less farfetched than its gimmick, though, and is often reminiscent of classic rock in the vein of less grandiose Rolling Stones or The Who. In short, if Mr. Face’s physicality doesn’t presumably provide a kickass visual experience, it otherwise feels like leftover cuts from last year’s Manipulator. That LP and this EP both put a grander emphasis on groove as opposed to steely riffs and rage. We also see a greater presence of Segall as the singer-songwriter — not necessarily in the emotion conveyed, but in the vocalist’s crisper articulation. The production quality of Segall’s vocal track is clean-cut as compared to those on Slaughterhouse or the aforementioned live record as well.

Neither of Segall’s January releases is unexpected or particularly audacious as far as his or his band’s music goes. They do, however, reveal more about the background of their maker. Though these records come from opposing stylistic standpoints, they come together to craft the perfect portraiture of Segall as a man with a wide range of rock music–making faculties.