Ty Segall’s approach to garage rock—an already vague term in itself—has always had more substance than the gritty, practice amp-induced sound of many of the style’s movers and shakers, past or present, especially when one considers Segall’s first release this year, Manipulator. While that diversity in sound may have been the result of time and patience, the songs on his new compilation, $INGLE$ 2 (Drag City Records), remind us of Segall during a more hasty period. But even in the scraps from Goodbye Bread, Twins, and Sleeper that make up this collection, it’s easy to see how these were the records that shoved Segall and garage rock (as it’s understood by millennials just tuning in) into the limelight.

Among the 12 grisly tracks on $INGLE$, some of which are only becoming of the B-sides they occupied, Segall shows his capability to go in a myriad of directions. “Cherry Red” evokes classic Gories stuff, where the guitar is less of a treble presence than a chopping block. “Mother Lemonade” is the psych-dappled charmer on this record. A supposed “complete retooling” of The Velvet Underground’s “Femme Fatale,” it is an over-caffeinated take whose heavy low end contrasts with the guitar’s pervasive siren. It’s as post-punk as Segall’s ever been. Meanwhile, on the other end of the spectrum,“For Those Who Weep” could easily be confused with pure singer-songwriter–inflected indie rock, reminiscent of a Bee Thousand deep cut like, say, “Awful Bliss.”

But “Pettin’ the Dog,” a GG Allin homage and the compilation’s closing squirt of bruised rage, might say the most about Segall’s approach as a whole. In his faculty to pick apart this type of music, Ty’s never too distant to pull out the unabashed and insolent songs that set the scaffolding for his original creations in the first place. It’s impressive that a collection of rarities that were all on the peripheral of more-familiar albums can illustrate the well-roundedness and dominance of a character like Segall.